"I first heard it when I was a little kid. I thought, ""What is this?"", trying to get my head around it. You've got to do a dance as a little kid to figure it out, and with all the most interesting stuff it takes you a while to get it. It's so fucking modern. You could pick a number of songs, but the architecture of those songs, it's like these super-tight rhythm sections and it doesn't really go anywhere. The groove is the thing. Sometimes he goes, ""Take it to the bridge!"" and they change it, but then they go back to the groove. It's not like a traditional song structure. The streamlined simplicity of it, and not being distracted by harmonic development, strikes me as being so revolutionary and modern. It makes me think of painting. Sometimes he's just groaning and yelping, and he's kind of like Jackson Pollock over this very tight structure, this kind of animalistic thing smeared across the song. You can see the connection to the blues, you can see the connection to early jazz, but he takes it somewhere else completely different."

"I was playing guitar when this came out and I tried to learn all the riffs. I loved that idea of transforming the blues into heavy rock – taking blues classics and giving them a twist. A lot of the music was traditional blues songs, but the Stones had done the same thing in taking them and twisting them. So many British bands took blues songs and made them famous –there are people who think ‘Roll Over Beethoven’ was written by the Beatles, and a lot of people didn’t know who BB King was until Zeppelin made him famous. When I was young my friend’s brother played guitar. He was really into blues, playing Chuck Berry, and he would play all these old recordings, so I knew all of them. All those licks I heard, I would then hear Clapton and all those guys play. I saw Zeppelin at Bath Festival [in 1970] from a long way off – the violin bow solo with the echo chamber went on for hours, but they were great. I’d never been to anything like a festival before, and that was the first real one, I was on awe."

"He released records on numerous labels, but this album was on the Herald imprint, and it features a song called Moving Out Boogie that alone is worth the price of admission. He kind of talks his way through it – it’s not really singing in the traditional sense – but the guitar playing could wake the dead. What he does in two and a half minutes on the guitar is enough to make you want to throw your fuzz and wah-wah pedals as far away as you can. Just toss 'em over the fence! If you can play Moving Out Boogie with even a third of the spirit of Lightnin’ Hopkins, then you just might have a chance. It’s the way to move, man. He played it like he wanted to play it. Our fair bassist, Dusty Hill, worked with Lightnin’ Hopkins a bit, and one time he said, ‘You know, Lightnin’, you seem to play in odd time signatures. One verse will be eight bars, and the next will be 10 bars.’ And Lightnin’ just said, ‘It don’t matter. Lightnin’ changes when Lightnin’ wants to change"