"OMG, so I heard that in high school and I of course tried to sing along with it but as she's one of the best singers living or dead, she put the bar pretty high. I'd already learned projection, being able to project my voice by doing musical theatre as a kid, and she was somebody who could project really strongly, have a sweet sounding voice, a strong sounding voice; she had just a huge range. Definitely clever lyrics, her songs were the kind of songs you just wanted to belt out. I especially remember the song 'Do Right Woman, Do Right Man', it went, "So if you want/ A do-right-all-days woman/ You got to be/ A do-right-all-nights man", I was like, "What? You mean that you can ask your boyfriend that if you're supposed to be super awesome to him, he has to be super awesome to you back?" Because I always had awful boyfriends who were total dicks so I was like, "Wait, I deserve better?" Here was this woman telling me, "Look if you want me to stay home and not go running around, you gotta stay home and not go running around either, it's a two-way street here." She was basically staying: "I want equality in my relationship." That was a great message to me as high-school kids who had some pretty destructive relationships. Even though I wasn't really able to realise that until much later, it was a great thing to have in my head. I think my mum's boyfriend had her record so I was introduced to it because it was just there at home. I never had a huge record collection or anything, like five records. But when they started dating he had a bunch of records and I learnt about King Crimson, Van Morrison and Aretha Franklin.‬"

"This album is fucking awesome. Right from the moment I heard it. I discovered Iggy and the MC5 through the NME in 1976, after I saw the Sex Pistols in June of '76, and was reading about it. That was the place to go to find out about gigs and whatever. A family friend of mine who was a bit older than me, he was fantastic at finding this stuff, he was the guy that actually took us to the show, Ian – his brother Neil was about my oldest friend, and he took us down there. That is an experience in itself. And then you find out without doubt Iggy really is the godfather of punk. That's one of the best titles. You hear about J.B. being the godfather of soul; Iggy without doubt is the godfather of punk. Again, what's brilliant about Fun House is the engineering, the sound is so heavy, it's just magnificent. His voice, the grooves, everything about it, it's as great as it was when it was released. It – will – never – die. This is an eternal record. I think I might have freaked Iggy out a little. He did a small show in Cannes, during the film festival. It was a tiny gig, but he was awesome. And I'm standing in the front of the audience, literally singing along to every word. He played most of the stuff from that thing, and I don't think he knew who I was or anything, but I'm like bobbing my head, going nuts, it was the first time I'd ever seen him perform live; he's such a great live performer. Obviously the music I make isn't influenced by it, but that doesn't mean to say you can't love it. I have a profound respect for him. I even love Raw Power – the sound is very odd on Raw Power, but that's what's kind of great about it, it sounds so weird. But Fun House is the one that just encapsulates them for me."