"I love all the early stuff - the work rate was insane. In the time we took to do two hi hats on Hysteria they'd done an entire album. Mott was when they really got it together. I didn't think the album they did with Bowie - All The Young Dudes - was a great album. It had its moments but you could tell Bowie had put all his efforts into the one song: the rest of it was a little bit thin. Cut to a year later and they're in on their own and they're basically pushed to the deep end - sink or swim. Everybody in the media had said 'what are you going to do without Bowie?!' but Ian stepped up to the plate, he really did. He came up with truly brilliant songs. Stuff like 'Violence' was taken to a completely new place, with Graham Prescott playing violin. He'd worked with Elton John. Then it ends with the most beautifully understated song 'I Wish I Was Your Mother' - the lyric, the title even. It's a really well made record. I remember Mutt used to test speakers with 'All The Way From Memphis'. As did Roy Thomas Baker, as a matter of fact. They proved they could stand alone with this one."

"It’s interesting to me that at a time when so many American bands and acts were getting into the pop thing, across the pond you had all of these great British musicians studying the blues. What Peter Green’s version of Fleetwood Mac did with the blues was not only authentic, it was positively enchanting. They figured out a way to have a good time, but they had their own unique sound and approach. In many ways, they cast a spell on you. They transported you to wherever they wanted to take you. That’s the mark of a great band, but as blues artists, that’s the mark of musicians who have really gotten inside each note. There have been a host of fabulous players who have called Fleetwood Mac their home, but this lineup is one to be reckoned with, and Mr Wonderful just might be their finest hour."