"What killer pop songs, just killer fucking pop songs. It’s all over the place and I remember looking at it as a kid, just looking at the cover, it’s like a cartoon and at third grade I would play that record again and again. 'Lovely Rita' is probably my favourite song. I remember I had a crush on this girl and at that age you don’t know what girls are about and this song had something to do with my crush on this girl. I don’t know how, but it did, so it brings back memories of a more innocent time in my life for sure. It’s so ingenious and a pure band effort where all the band were listening to each other. I know from reading about that record later that there were a lot of battles but I think the band were at its zenith in terms of allowing each other’s input. Guns was also a band where everybody respected everybody else’s musical opinion - Appetite was a record that was a serious group effort. We didn’t have any away to record ourselves, we didn’t even have a PA, Axl would be singing lyrics into one of our ears while we were playing really loudly in this little room, so the only time we got to hear these songs properly was when we played live –in front of three people sometimes - 'cos there were monitors on stage. Then you’d realise that songs like 'Rocket Queen' were way too long and be shaving them. By Illusion we had a big rehearsal place with a PA and could record ourselves on cassette and hear what we were doing. And we had time, and if you don’t let time get away from you time can be a really great thing if you know how to manage it."

"Whenever I listen to this I find myself quite overwhelmed by it. There was an interest in the '70s in that Bulgarian folk singing, the kind of singing where they sing in 2nds. One of the harmonies they use a lot is a 2nd, which is a very unusual interval, and I remember that being around and there being a great album called Le Mystère Des Voix Bulgares, which is an amazing record, so I think I was aware that that part of the world had interesting music. I don't really remember how I got this one other than I bought it in France. The softness of the male voices is like softly blown flutes. If you grow up in England with the disgusting operatic tradition we have, where the men's voices have to be so manly, it makes you violently ill [laughs]. Hearing the softness of this was so touching to me. There's one section in one of these tracks that is too amazing, where the voices that are all woven together gradually separate out so that all the voices above a certain register keep on going higher and higher and the ones below keep going lower. It ends with this incredible chasm between the voices that is just startling."