"I used to have a studio in Brondesbury Villas up in Kilburn and there was a little book shop that I used to go to and one day they were playing this record. I think she is one of the great musicians alive at the moment; she plays bass but she plays it with such ferocity. She's a very interesting person to work with because she doesn't think at all in terms of chords or anything. You just play a track to her and she just starts to do something. She comes up with the most amazing riffs that are just completely unlike anything anyone would think of doing. The go-go scene she came out of was a particular approach to rhythm, and it's very contained. It's not at all splashy. It's all about really intricate, tight and accurate rhythm. I was in Montreux in 1995, I was working with David [Bowie] on that album, Outside, and the festival was on. I heard this music coming from the festival place and I thought, ""Wow, what is that?"", and it was her with her seven-piece band, who were the meanest looking people you've ever seen. This giant on the drums, two guitar players with these kind of slitty shades playing the meanest funk guitar. It was the probably the best show I ever saw. I was shivering with excitement. It's so harmonically dangerous. It's so strange what the instruments are playing. If you heard them in the abstract you'd think you could never put these together into a song. They're off on their own trips and somehow they just cohere together."

"I went to see them play at the Orchid Ballroom in Purley when they were at the height of their chart success. I always loved Noddy Holder's voice, and they weren't super musicians but Don Powell was a really clever drummer. The parts he'd play were always not what you'd expect to be going on with that song. He always found another way of doing it which was always really cool. Jimmy Lea was always such a great bass player as well, and carried the whole thing. I could take or leave Dave Hill's guitar playing, but at the same time the way Dave Hill plays guitar is very punk in a way. It's very minimalist, very Chuck Berry, with lots of Ernie-Ernie Ernie, you know. He's playing the dynamics rather than the notes. And I went to see them at the Orchid Ballroom in Purley and it was one of the best gigs I've ever been to. It was absolutely infectious. As soon as they started playing it was like you're going to have a good time whether you like it or not. I don't care if you think we're unfashionable, you're still going to enjoy it, which was what happened. And that was the tour that they made that album from. It was the same set: I remember them playing 'Born To Be Wild' and all of those tunes. It was one of those moments, and that album sounds the way I remember that gig. I'm sure there are a few overdubs on there somewhere, but I watched them play that show. Dave Hill threw glitter in my eyes. How could I not have a copy?"

"I'm so excited about being on the same bill as Patti Smith at Field Day! I think it's going to be fucking brilliant as well. I think she's going to be amazing. You can sometimes be disappointed because of all the baggage and preconceptions that an artist can bring from back in the day but I think she'll be a killer. She's going to be all over it and I'm really excited. But yeah, this album was a massive mainstay in our tour bus and throughout our working life and it still is now. I always wanted our band to sound like Patti Smith Group - they've got the piano, they've got the hard and fast edgy guitar, the bass… that's how I wanted Supergrass to sound like. How close did we come to achieving that? Well, there were the odd songs where we had that energy where Danny [Goffey] was on drums and keeping quite simple 4/4 beats and punky beats but without having screaming and distorted guitars all over the place. We had those moments of guitar, bass, piano and drums and we had that energy. I mean, can you imagine Sex Pistols with a piano? And that's what Patti Smith Group did so brilliantly - they had that raw energy. They had that piano but it wasn't used in that flowery way. It's a bit like how Bowie used piano in that rhythmic way. This record is an utter classic. That moment in 'Horses' where it all kicks off, I think we've searched to write our own version of that over the years. It's like, 'Woah! Take me away!'"

"It's hard for me to choose between The Stooges and Fun House even though they're very different. I probably bought them within weeks of each other in 1980 when I was at college and I loved them both equally, you know? The first record has some of Ron Asheton's greatest guitar leads. The guitar sound is fantastic. It's occasionally got tribal drums which Fun House doesn't have. There's a whole different feel and Iggy's vocals are sort of detached. The Stooges opens up with '1969' and 'I Wanna Be Your Dog', but then there's this mellow thing that lasts nine minutes or something... Oh man! I kind of love 'We Will Fall' for its weirdness We did the Big Day Out in Australia in 1993 and that had us, Iggy, Nick Cave & The Bad Seeds, The Beasts Of Bourbon and a few other people on that bill, and we all got on stage to do 'I Wanna Be Your Dog' and had a ball. There's something primal about all of the Stooges. Fun House almost feels like a live set. It's got the show opener 'Down On The Street', it builds up a bit more with another couple of songs and then you flip it over and all of a sudden the saxophone kicks in. The song 'Fun House' in particular is kind of what jazz rock fusion should have been instead of Al Di Meola and shit like that. There's a jazz element but with a totally rocking rhythm section. I suppose I have chosen a lot of records with the sax on, I'm not opposed to the saxophone!"

"One of my all-time favorite bands. What I admire about them so much is that they ‘learned to unlearn.’ Jimmie Vaughan had perfected techniques on the guitar to the point where he could keep up with the best of them, as had the rest of the lineup. They recognized the idiom of the blues as an art form long before people talked about it in such a way. Everybody in the band had done their homework and figured out that this wasn’t some simplistic, sports bar music; this was serious business. But they dished it out in a way that was both fierce and casual. I think this is one of the finest interpretations of the blues that has ever found its way to the marketplace. Not a bad moment anywhere. It’s a beauty."