"I didn’t come into that record until about two years after it was made - I think I was about 34 and my wife and I were having kids and I was going back to school. In the late nineties rock music was kind of awful and you really had to search, there were a few bands out there doing different stuff but it was kind of an awful time for rock music, so I think I chose the right time to go back to school and have kids. Anyway, it took me two years but someone finally switched me onto the record and it blew my mind. Then I found out the band had split up - I went to see The (International) Noise conspiracy but it wasn’t Refused, so I thought really I missed my chance to see that band ever. But I finally got to see the band a few weeks ago in Seattle. There are gigs you go to on your own, ‘cos it’s not a social event, you don’t want to talk to anybody you just want to go and do your thing and it was really one of those moments where the gig was better than the record. That gig fortified everything I love about that record, that’s probably a top five record for me. Actually that record influenced a lot of the first Velvet Revolver record, we would listen to that band a ton"

"This one is the opposite of eclectic! I was a Cult fan anyway. A lot of people at school were into goth and I wasn’t so popular because I was into rock, but I felt like the Cult fell right between the cracks of those two scenes. And then there was the Manor Sessions and the stuff that they recorded for Electric that was recorded in the more traditional cult style. And I love the story of Rick Rubin telling them to throw all that stuff away and to use Les Pauls and simple sounds – basically trying to make them sound like AC/DC. A lot of bands tried to sound like AC/DC, but the Cult doing AD/DC is its own thing, and it’s really brilliant I think. The first band I was ever in played ‘Lil’ Devil’ and that’s a pub classic, and if you’re writing pub classics then you’re doing something right I think. ‘Wild Flower’ is definitely the one for me, I love that song. The way the drummer [Les Warner] approaches it... it’s like, you know exactly what’s coming, there’s only one fill in it that’s unexpected and then you listen to it twice and you know when it’s coming. But every time the chord changes, he pushes so that he comes in slightly before the bar. And that’s actually brilliant. That’s how all rock drummers should approach rock drumming. It’s a masterclass."