"In my book this isn't a punk record - it's a fantastic rock album. I mean, it's produced by Chris Thomas for goodness sake. Cookie (Paul Cook) is a fantastic drummer: I know him because he plays in Phil Collen's other band, The Manraze Then you have Steve Jones - fucking amazing guitarist. Matlock had gone by this point, I think he was on 'Anarchy…' and Sid was on 'Bodies' but apart from that Jones did all of the guitar and all of the bass parts as well. And he probably did more overdubs on that than we did on bloody Pyromania - it took nine months to record. It's a real album: it represents punk, but in many ways it doesn't. The Pistols record is as planned out as a Genesis album. And that's why it works: it's fucking brilliant. Nobody snarls like Rotten: his 'we mean it, man' on 'God Save the Queen', it puts the hairs on my arm up to this day."

"When I went on my first non parent holiday to Skegness with my mates, this was the soundtrack. We were in a nightclub and 'Go Buddy Go' came on and we were bouncing off the walls. I mean, the Stranglers sounded like the Doors; they were about as punk rock as Genesis, they jumped on the bandwagon. I saw pictures of them from six months before and they were wearing flares, for gods sake! But they were a great band, it didn't matter. They outlived punk. They were making outrageously different music - sometimes limitations create great music. 'Down In The Sewer' - it was great, the bass sound was insane. It did the same thing to my heart as Ian Drury 'New Boots and Panties'; it was just bloody brilliant. I loved it all. That Stranglers record is dark and exciting and weird. A lot of my choices here are a bit off kilter, actually. Indie movies as opposed to Hollywood blockbusters."

"I have an argument with people who say that the punk scene changed their lives. Nearly everyone I speak to says that the Clash were the most exciting and the most important group of the era. But without the Sex Pistols there wouldn't have been any Clash: end of story. And people claim that Chris Spedding played on the album [as uncredited session musician], but really it was Steve Jones, and he is one of the great rock & roll guitarists. And Lydon was streets ahead of everyone else. The Clash made great pop records and the Sex Pistols were a great punk group. And for me this is year zero, you can go back to the Stooges if you like but if you were a kid waiting for someone to kick against bands that I have listed like Genesis, then the Sex Pistols were it. They lit the touch paper. It's a cliché but it's true."

"More so than any of her records, again, I just find it one after another songs that just particularly move me... I'm very moved by the song 'The Man with the Child in his Eyes' - I love that song. So, it's funny, it's a lot about having children and at the time I first heard it, I had no idea that I'd ever have children. I always loved her - she seemed like a kind of punk rock folk singer to me, with that punk rock attitude, and that extraordinary voice and such beautiful songwriting and very diverse musicianship. This record for me is something that, in my teenage years, I was just engrossed in. I can't really take myself back there and say why, what started that. It was very much part of my teenage years, but it's also very much part of my life now - fuck, this is so hard! 'The Man with the Child in his Eyes', 'L'Amour Looks Something Like You', 'Them Heavy People' - all of them, 'Moving'... often it's the way the songs start, as much as anything. It's a bit like Blue; as soon as they start, you know something amazing's coming, and then her voice kicks in and it's just like heaven. Ah, it's just heavenly!"