"When I discovered them, we went to Australia shortly after and I said 'can we get these guys to open for us?' I was quickly told, 'no, they're way bigger than you in Australia. Don't be silly'. We haven't played together. I got to see them once at the Cake Shop in New York. I don't know what it is but this record kind of reminds me of the sort of rawest parts of AC/DC or the most loose parts of Pink Flag. The singer is pretty unhinged. When I saw them play, it was a thing where you could see the singer looking at Mikey, the main guy and guitar player who I think writes all the music. The singer was watching him to find out when he was meant to sing because he didn't really have that straight. It was kind of a thing where Mikey would nod and the singer would start singing. Sort of a go and stop kind of thing. I don't think anyone particular obsessed over the form and lyrics of these songs. Maybe they did but it doesn't sound like they did and there's something great about that. I think they recorded this record in a day. And it's got that vibe. It's loose and it's powerful and punk rock and totally real. "

"The title is like an artificial title, but it’s Bert Williams, Lime Kiln Club Field Day. It’s actually a film that was never completed. MoMA found it in its vault in reels of production from 1913 featuring Bert Williams, who was the most important entertainer of his era. He’s the first crossover African-American star. He was a recording artist, Vaudeville performer, and he made a number of films with the Biograph company. Some shorter ones survived, but this was a longer production. Fortunately, MoMA discovered his material. They actually put together a cut of it, so that we get a sense of the story. Bert Williams plays this kind of town comic idea, down on his luck a lot of the time, and he and two other guys who are much more sophisticated are competing for the top affection of the local beauty. It’s a lot of comic sequences where they’re trying to take each other out of the running. The film features all of the most important black theatrical performers of the day. It’s just been a revelation to see this, because now we get to see the performance styles of these figures that up ’til now, we’ve only had still images of them and, maybe in some cases, some of the scenarios that they performed in. It’s incredible."

"My all-time favorite. You gotta remember, I’m old enough to have seen it in theaters when it first came out, with all the hype. The fact that it was such taboo material at that time was so incredibly powerful. If you didn’t live through it you can’t really appreciate the fact that there was so much hype going around, that people were saying that, after they watched the movie, they were getting possessed. People were buying into that, so it made it even more scary to go see it, because you were worried about going to sleep. And the movie was so well done. It still holds up. This many years later, I still think it’s a pretty damn good movie. I’ve always liked horror movies, even from the beginning when I was a little kid and saw The Birds. Scared the **** out of me. It was like the precursor to Jaws. Every time you looked at a bird that was staring at you from a tree, you would think, “Oh ****, it’s going to come down and pluck my eyes out.” And I’ve always liked action movies. That’s probably why I went into stunts. I always enjoyed watching the guys perform feats that looked like they were impossible, and I thought, “You know, I’d like to try that.”"

"You can't fail today to be mesmerised by 'Whole Lotta Love'. That was the song that did it for me. A lot of these choices that I've made are either the first or second release from these bands. I always thought that those were great times, because there was never any pressure around artists. You don't have all of the extras that come with being successful. The band is in a very pure place at that point. I always remember playing with them, but it was quite a while after this album came out. We'd just completed a very, very long and gruelling American tour. We were about to fly back to the UK and we had a call from Robert Plant saying, ""I heard you guys are still over in the States, would you like to come and hang out and open for Zeppelin on the Green ['Day On the Green' concert] in Oakland?"" So we got a really cheap, unglamorous motel by the side of the freeway. It was so poor that the walls were basically green, covered with algae. We were there for a week and just waiting and waiting and waiting for the chance to open up for Zeppelin. That was a very important show for Priest, because that was what broke us on the west coast of America."

"They’re a vocal group and started back in the heyday of very early reggae records. It’s the Jamaican parallel universe of rock & roll. It echoes rock & roll, R&B, Motown, soul. It has all the vocabulary of great 50s rock & roll. It’s pop music. It has this work ethic and immediacy: “We’re just making records, and making records, and making records.” It’s like surf music. It’s guys around the world in cheapo studios just digging deep. I love the vocalising of The Heptones. Even later records. I always loved them. I’m a sucker for the 60s records. All of their early records are singles. The first time they got compiled was probably the 70s. There’s one song called 'School Girls' that I almost covered a few years ago [Black essentially covers it for the Quietus there and then]. It’s so heartfelt and heartbroken. It’s like, it’s like, it’s like when I listen to 'The Great Pretender' [sings] “Oh yes! I’m the great pretender…” The Platters were a lot smoother than The Heptones. But The Heptones have that beautiful harmonising and soulfulness. Whenever I hear The Heptones I think, I wish I could sing that good. They do an amazing version of 'Knock On Wood'. They fuckin’ own it, man! It’s already a big hit for whoever the fuck recorded it. They sell it, they own it, they wear the hat."

"This is the title track from New Values which is my favourite album of his. I don’t know if that’s because with songs like ‘Lust For Life’ and ‘The Passenger’ - and they’re amazing songs - I just heard them so much when I was in a young band and they were used everywhere. “I hooked onto New Values at some point at the end of the ‘90s, just looking through Iggy’s stuff and back catalogue and then talking to Mick and Danny. When you’re in a band you talk about the albums you’re into, one of us got the others into it and we all kind of agreed ‘Yeah, that’s the album.’ “The backing band and the backing vocals sound so good on this, it’s two or three guys in the band delivering these not shouty backing vocals, it’s just such a great sounding album and the band is really on it. It’s quite a dry sounding album, all the drums are very dry and it’s a very dry record to listen to but it’s got some great moments on the whole record. ‘I’m Bored’ is an utter classic as well, but ‘New Values’ is great, it’s got a really cool beat, the way the drums are and Iggy’s delivery is brilliant. It doesn’t scream at you, which I think is cool, it’s got a poise to it that I really like."