"That one was going to be the last track on the album, so we had to leave an emotional impact there. It wasn't hard to think like that, given the subject of the song. With a lot of Bowie's songs, you found you were not only being a musician, but a bit of an actor as well. You had to get in there and use your imagination at the same time as your drumming skills to communicate those lyrics with any sort of conviction. You didn't want to say: 'Go out and commit suicide', of course, so you had to find a way of playing it so it didn't communicate that but rather identified with how someone like that might feel at the end of the world – that whole concept. It's one of my favorite tracks. It doesn't need a lot from the drums, bass and guitar. There are times when it breaks down to just the bass drum, and that bass drum needs to be played with despair. So, it was interesting as an emotional song to play. Everything seemed to leave it hanging on that bass drum, so you couldn't play it flippantly. It was how you emotionally felt and getting that across with just your foot on the drum pedal. You look back on that track and think it was pretty risky – especially on his part!"

"I think Combat Rock has suffered a lot of bitching and whining because it’s when The Clash broke America. I was 17-years old when I heard 'Should I Stay Or Should I Go'. I wasn’t some hipster, punk dude. I didn’t know who The Clash were. I heard it on the radio. I heard 'Rock The Casbah' on the radio. Compared to a lot of other stuff being played it was like: “This is good!” For all the people who say it’s not London Calling, it’s not 'White Riot', well, I get that they were in the trenches and whatever. I’m not trying to disparage the early Clash but they matured into a proper rock band and they did something with it. Listen to 'Straight To Hell'. Fucking A! Listen to 'Know Your Rights'! I’ll be happy as a pig in shit if I can write a song as good as that. If they were ‘selling out’, you write 'Know Your Rights'! It’s why I picked Combat Rock. I don’t get where people are coming from who don’t like that record [sings the riff from 'Should I Stay Or Should I Go']. It doesn’t get any better than that. It’s a wonderful statement. I wish there was something out there right now as good as 'Straight To Hell'."

"I think when we were kids it was all about Sgt. Pepper’s. There were a few albums that my dad had that we played a lot and that was one of them; we didn’t get far beyond that. And then when I eventually started listening to the old, old stuff, I didn’t like it so much. I realise that the innovations that they made composition-wise coloured all of pop music and a lot of rock as well – it coloured all of music really! But I wasn’t into it, not into listening to it. But then I decided to educate myself on The White Album, and I used it for everything: walking, working out etc. And I love it. I actually saw some footage of Paul McCartney doing ‘Helter Skelter’ recently and thought he really nailed it – I think he still does that song really well. I just love The White Album and I prefer it to all the other Beatles stuff. I can’t explain it though. I don’t even especially like any of the songs, it’s just that as a listening experience you can find yourself immersed in it while running on a treadmill as much as you can laying in your bed. It’s really versatile. I love all the Beatles’ stuff and it’s all eclectic, but I think this album is even more so."

"If I could pick a song that I could go back in time and write, this is it. I think it's a perfect composition from start to finish, the melody to the drum groove, it’s really hard man. I think if I was to play that drum groove on its own a lot of people would think how does this fit into anything? And the fact this man's made this love song, that can be played in soundsystems, you can listen to it at home, it's so like transferable and I just love that about it. There's no right or wrong place to play it. I could play this at my wedding, I could play this if I’m going through a break up and I’m at home on my own, I could play this at a gig. I mean, for me it’s just a perfect song. And I think for the album, I was more concerned with writing songs than I was creating music for improvisation. I can do that, it wasn’t about trying to prove that, I want you to listen to this from start to finish, everything should be a great song. That was a good three and a half minutes. I was trying to get that with a lot of the tracks where it just takes you on this journey and that's a great example."