"I was introduced to this in 2009 by a friend of mine who is into super-heavy music and it’s one of his favourite guitar records. I’d never heard early era Fleetwood Mac and I still don’t know many people who talk about it. “It’s from Then Play On, I think it was the last one they did with Peter Green and Danny Kirwan, there was always a rotating cast of characters in that band, people coming in, freaking out and losing their minds. “I chose this because in the process of discovering Peter Green’s early music the touch he had as a guitar player was just like magic. I feel as a singer and a guitar player he’s become one of my favourite ever players, there’s certain kinds of tricks he did, especially on this song, that I’ve definitely ripped off, not the blues playing but this incredible soulfulness on guitar. “I’m not in love with guitar playing, even when I was really into jazz I never liked guitar players, I didn’t care about it that much really. I’ve always wanted to approach the guitar from a perspective outside of just playing the guitar and trying to make it do things that the guitar can’t really do or pretending it’s something else. “But Peter Green was one of these straight-up, incredible, super-expressive guitar players. He’s not the first name a lot of people talk about because it wasn’t always the most original music, but this song in particular is so specific to what they were trying to do at the time. They were starting to leave pure blues, it has this strange composition going on and the way it progresses isn’t super-standard, it wasn’t psychedelic exactly, it was edging into a world of music that was happening outside of blues at the time. “Peter Green is such a soulful player, he has a unique quality I’ve never heard anywhere else."

"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."