"I liked Jerry Lee Lewis, because my dad turned me on to him, so I had this collection of all the Sun sessions that I would listen to a lot. I mainly just listened to 'Whole Lotta Shakin' Goin' On'. I used to love that line, ""got the bull by the horns"", I used that line in 'He's Alright', my song from a long time ago. It's so bluesy and goofy and from a wild man. But then at a later period, I read that book The Dark Stuff by Nick Kent. Adam [Granduciel], my buddy, one of my best friends, from The War On Drugs, he sent it to me for my birthday, which was nice. He wasn't even around, but he sent it to me. Anyway, I couldn't put that down. He knew I would like that book. The best article [in there], is on Jerry Lee Lewis, who's just a notorious maniac and is obviously an incredible piano player. In that article, he talked about a book, a biography about him by Nick Tosches called Hellfire and this book is off the hook, it's unreal. So just around that time I found the vinyl of this one, the Sun Sessions, maybe it's volume one, again I burned it and cranked it in the 'phones and played it a lot when I was driving around LA. There's a song, 'Little Queenie', which is a cover, but he says: ""She's too cute to be a minute over 17"" and I morphed that line in 'Pretty Pimpin': ""a little too cute to be admitted under marbles lost"". Whatever that part of the song is, the first time I say: ""All I want is to just have fun, live my life like a son of a gun"", but it's like a morphed version of that Seeds song, 'Pushin' Too Hard', like [sings]: ""All I want is to just have fun, live my life like it just begun"", so it's sort of referencing those old guys, two different eras. Obviously, if I had to pick one, Jerry Lee Lewis slays The Seeds. But it's just like that down-home, real rock & roll. How do you explore his back catalogue? I think you just start with the early stuff. He had a crazy career, because he had all these hits young and then he married his super young cousin, but he was totally in love with her and she was, and then they went to Europe and during that time they found out it was his cousin and then he was banned everywhere, basically. Then he had a resurgence, he started doing country music and was bigger than ever, so he would always go up and down, but he was a maniac. He would just always be battling demons. He would go back to Jesus. He would go to church where they would speak in tongues, he would just live extreme lives. He would go back and forth, lose his mind, take a million pills, play shows and his hair was flying around, playing with his foot. I mean, he was a bad motherhumper, as you would say!"

"So it's spring, early summer in 1977. I'm a teenager that's started school. I read a book about a punk. I know something's happening. I heard 'God Save The Queen'. I started buying records like The Stranglers' 'Peaches' and The Clash's first album. I remember looking at the cover of the latter at a record store at the bottom of my street called Soundtrack Records. I remember looking at the three guys on the cover with brutally shorn hair, tight drainpipes and wearing shirts with Paul Simonon having a Union Jack stitched on over the pocket. There was also a photo of the Notting Hill riots with the police fighting the Rasta youth. Earlier that year I watched a documentary with my father about the Notting Hill riots at the carnival. I found it really inspirational because I just love seeing the youth rise up and take on the cops. It was a pre-punk moment of seditious confrontation that I found totally inspiring. Just seeing people saying ""fuck you"" to the system is always inspiring to me. In terms of the Clash album itself, the song titles even sound great, such as 'I'm So Bored With The U.S.A.', 'White Riot', 'London's Burning' – I was like, ""Fuck!"" before I'd even heard the record! It totally blew my mind and I ended up buying the record. For a long time I'd stood outside the record store and looked at the sleeve! This album was basically everything I was waiting for. It was my rock & roll. Previous to that, I'd heard rock songs on commercial top-40 radio stations, such as Deep Purple, The Who and Rolling Stones, but it felt like a different generation's music. So with The Clash, I finally found my thing. The songwriting on the Clash album is amazing. 'Remote Control' lyrically was about big business and not liking the things you do. You got no money, you got no power, they think you're useless and that's exactly how you feel. I thought, ""Fucking hell"" when I heard it back. You still felt as a kid scared of going into the adult world when you left school. The song wasn't rock bravado or being macho but about being a young person going out into the world for the first time feeling powerless, which was empowering because when you relate to something, you feel stronger. 'Hate & War' was another song that took the hippie ideal of love and peace and turned it on its head by saying: ""There ain't no love and peace, this is the '70s, it's fucking hate and war here."" Punk rock was my portal and pathway to being a creative person. And the first Clash album was everything to set me on my way. Even now, I feel quite emotional talking about this. It's the most emotional record the Clash made because there's something really pure about it. I also think there's a humanism that the Clash have that the Pistols didn't, as the latter were just pure rage. For those reasons, this record is my life."