"This isn’t exactly a studio release. It’s a live release from the very first two shows that Bruce did in England, recorded on November 18, 1975 at the Hammersmith Odeon in London. In attendance was Joe Strummer, Pete Townshend, and Peter Gabriel, to name a few. At this single concert, Joe decided he’d play a Fender Telecaster from then on, Peter Gabriel decided he’d leave Genesis and go solo, and Pete Townshend made a request for “It’s Hard to Be a Saint in the City"" (to which you can clearly hear Bruce say, “This is for Pete” in his thick-as-mud Jersey Shore accent). All of this at one show. All because Bruce and the band were on absolute fire on this night. It’s the single best concert I’ve ever heard in my life. So when someone says to me, “Bruce? The guy with the flag and his butt on the cover of that record from the '80?” I reply, “Yes. That Bruce, and this punk rocker too.” Start here."

"Of all the people who were a direct influence on Oasis, the line goes back to the Sex Pistols, whether that’s Joy Division/New Order, The Smiths, The Stone Roses or Factory Records, and if they hadn’t played those two gigs in Manchester who knows what would have happened? And on that album you’ve got Lydon or Johnny Rotten with that voice going on about the Royal Family and boredom and the rest while you’ve got Steve Jones just hammering it out like a pub rocker or like someone who’s into Slade or The Small Faces rather than punk rock, and between those two things you’ve got it. Every time I listen to it I think that if it came out tomorrow it would fit right in, it wouldn’t feel dated. Way back at the start of Oasis we did a radio session for Mark Radcliffe and during ‘Cigarettes and Alcohol’ Liam out of nowhere sang ‘Sunshi-i-ine’, you know, with about ten extra syllables and when it went out on the radio I remember thinking, ‘Fuck me, that sounds great.’ And when we came to record I was like, ‘Sing it like you did on Radcliffe again, like Lydon.’ It was his idea, I just pushed him toward it."

"So this is pre-teen me; I became a bit of a rocker. This is when I got into Marvel really heavy, and still playing in jazz band and other stuff. I remember my favourite movie at the time was The Crow, and when I was younger the littlest thing would snag me, like if I heard some type of melody or harmony or something that would immediately get stuck in my head and I would have to know where it came from or what it was. Stone Temple Pilots, for me, it started with The Crow. I remember hearing Scott Weiland singing the melody of 'Big Empty' and I was like, 'What? Who wrote this? Who the hell wrote this song?' I was literally like, I had to find this album. I would listen to albums with repetition a lot of the time, and this is right in the middle of like the grunge era. All kinds of stuff going on, and clearly Stone Temple Pilots, when they came up, were making waves outside of that. Ultimately, because Purple had my favourite song from my favourite movie on it, it essentially became one of my favourite albums when I was a child. To this day I still listen to it."

"Then we became rockabillys and got really into the Stray Cats, This was about 1982. It was my brother and his mates who started brushing their hair up, and me and Sice joined in. It felt like years at the time, but it was probably for 12 to 18 months we became rockabillys. We had our hair piled up, baggy trousers and crepe shoes. I still love the Stray Cats. They had this cartoon image - their hair was much bigger. I had such a crush on Brian Setzer, he's a great singer. But the guitar playing is phenomenal. The B-side is called 'Drink That Bottle Down' - I think it's live in Newcastle - and you've got the double bass player Lee Rocker shouting these blues. It really is a racket, but the guitar playing is unbelievable. The variety and dexterity and fluidity - the ferocity of his guitar playing is wonderful. I was into them for a couple of albums, but by the third album we kind of gave up. My brother got deeper into it - he started getting into psychobilly and all that, The Sharks, Tall Boys, The Meteors, The Milkshakes - all that Klub Foot stuff. And there was a psychedelic wave - The Purple Things and The Vibes - and it all got really strange. I was out of it by then. I think 'Relax' came out and I was back in the modern world."

"That album is my favourite because it's the one that feels most concise. Electric Ladyland I love, but it does sprawl a little bit and some of the later ones don't feel like he's absolutely at his peak. The early ones - Are You Experienced? - I do love them but it feels like there's lots of singles. So for me, Axis: Bold As Love has that depth. The production is just fantastic as well. 'If 6 Was 9', embodies that whole wild, epic, Jimi Hendrix thing, in a concise pop song. Him saying about the businessmen going down the street, ""you can't dress like me"", and ""I'm gonna wave my freak flag"". For a long time, my favourite Jimi Hendrix stuff was the live stuff - he's one of those guys where you can be a fan of the the live stuff and it's almost a completely different artist to the albums. Whereas this one feels like it's got that spirit of Jimi Hendrix live in the song as well. He manages to get this epic adventure into three and a half, four minutes. To me it just embodies Hendrix: rebellious but friendly, and totally in control of the universe. He's like a shamanistic character isn't he? 'Up From The Skies' is really amusing, really cool. 'Spanish Castle Magic' is just a rocker. But it's got this real sparkle to the whole thing. I think these albums, the reason why they've lasted, is because you can listen to them at any time. You can have them for breakfast, lunch or dinner. You can listen to Axis: Bold As Love on an epic road trip or having a coffee in the morning."