"Some people would say that The Smiths never really recorded one great album and that they were more of a singles band and I kind of see what they mean. I do really like Meat Is Murder, which is a weirdly psychedelic record with really long tracks. They really did the legwork with that album. But I remember before The Queen Is Dead came out it was an event… they were about to release their first album as a big band. I remember hearing the first single, ‘Bigmouth Strikes Again’, and they had moved on. And then I got it and… the cover was awful… just a piece of shit. But then I played it and it starts with that sample: 'Oh take me back to dear old Blighty…' And it was, 'Fucking hell…' Just astonishing. One of the best openings to an album ever. And that’s before you get to ‘There Is A Light That Never Goes Out’. They could have had the photograph outside of Salford Lads Club as the front cover but then Morrissey is wearing a really daft jacket. It’s brown with black love hearts on it. Very strange. I remember seeing them on that tour when they came to the G-Mex. They came on stage to 'The Queen Is Dead' and Morrissey was carrying a placard that said, 'Two pale ales please'. He had a white blazer on and shades and, fuck me, he looked like Elvis."

"I was playing Scott 3 quite a lot at Christmas and there’s something about this song that’s more Christmassy than Christmas songs. It’s just kind of magical, that’s how I’d describe ‘Copenhagen’, it’s magical. “I think this song is my highlight from Scott 3, there’s something about ‘Copenhagen’ for me. I think it’s the instrumentation and the orchestration on it, it’s utterly gorgeous, the sound of it is really, really beautiful and then there’s his voice over the top, the lyrics and his delivery. I guess it’s rooted in that crooner area but there’s a tenderness to it. ‘Copenhagen’ has a delicacy to it and I’ve always loved the vulnerability of it as well, like there’s crack in his voice. I’m just in love with this song. “I think a lot of people like Scott Walker songs because they touch on stylistic elements that could be seen as more commercial or just normal or standard in some way, but they’re not. When you hear how he delivers this there’s an off-kilter feel to it, an oddness to it. It’s got a beauty but it’s not really an obvious beauty and he manages to walk that line really well, between darkness and beauty. “That’s another thing that I love about the whole album Scott 3, it is quite dark, but it’s dark and beautiful and those two things are something that I’m really in tune with, a sort of dark beauty and that’s what Scott Walker does really well."