"In 1962/3 German promoters Fritz Rau and Horst Lippmann booked a number of American blues and jazz artists to come over to tour Europe [The American Folk Blues Festival]. It was kind of the first time these blues musicians weren’t playing places like the south side of Chicago for $25 a night. They were playing in Europe’s finest concert halls to an audience that listened spellbound to every nuance and every word of a language they didn’t understand, from a people whose colour they didn’t understand and whose musical history they didn’t understand. They were enraptured by the emotion and individuality of these different blues musicians. So as a 16-year-old I went to the Manchester Free Trade Hall to see one of these shows, and one of the characters who stood out for me was J.B. Lenoir. He was alone on stage with an acoustic guitar and sang songs in this amazing bell-like high tenor that was quite unlike most of his compatriots, and he made a great impact on me. In the same year I heard him singing ‘Alabama Blues’ and was later given by Rau an album they recorded with Lenoir of the same name, repackaged and remarketed today as Passionate Blues. ‘Alabama Blues’ was the album’s key track, a very brave song for a black man to sing in 1963, with the race riots, lynch mobs, bombs and brutality. Almost the only clarion voice of protest and political awareness I was aware of was J.B. Lenoir. He sang about Vietnam, he sang about the wars in the street, he sang about police and the lynch mobs, and he did so in a very articulate and responsible way – he wasn’t a rabble-rouser. He reflected what was going on and how it impacted on him and his life, if not in an uncomplaining way, certainly not in a vitriolic way. When we think about it these are perfect sentiments for the blues. I heard some really rather tiresome man on breakfast television this morning, Michael Buble I think it was, talking about his latest single. He took great pains to explain how it was about the break-up of a relationship and said, “all my songs are about being in love or out of love, that’s what I do.” I thought to myself: “How incredibly interesting. Not.” How incredibly dull and boring, but it’s the stuff of so much. Shakespeare’s sonnets probably should have got it out of the system for planet earth and its population for all time. I don’t have a problem with a good love song but very few of them are, they’re really incredibly trite and employ the same tiresome, limiting vocabulary and expressions. It’s almost as if people’s brains can only go as far as their gonads. J.B. Lenoir proved that you can be passionate about the lynchings in Alabama. That’s the stuff we need to know about and blues, simple and direct and emotionless as it is, is the perfect form for that."

"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."

"I found a very interesting thing out about Tony Allen. I was thinking, ""How did he get to that music?"" In my opinion, Afrobeat really grew out of his drumming more than anything else. I mean, Fela was of course totally important to it and realised what you could build around that, but I think there was nothing else you could find that sounds like Tony at that time. So I was asking a friend of mine about this, Joe Boyd, the record producer, and he said that the story with Tony was that he was the only subscriber to Downbeat magazine in West Africa when he was about 18 or 19. In one edition there was a supplement by Max Roach, the jazz drummer, about hi-hat technique and Tony got completely fascinated by this article about how you balance the hi-hat with the rest of the kit. So Tony came from the history of Nigerian drumming and then he saw this article by Max Roach and that was the sort of thing that galvanised him really. Afrodisiac has four songs and they're all absolutely brilliant. There's no disappointment on the album at all. On later records there's quite a lot of fat, the pieces go on and on and sometimes they're a bit aimless, but Afrodisiac I suppose was being made as an attempt to push Fela over here, so instead of a piece taking a whole side it takes only half a side. I used to go to this record shop just off Tottenham Court Road called Sterns and that was a place where you could buy records from other countries, so a lot of Africans went there because you could buy West African records there. I used to sniff around there as I was just fascinated by all the covers. All these people with amazing headdresses on and you think, ""Christ, I really want to hear that record, I wonder what that sounds like."" So I saw that cover and bought it entirely on that. I thought, that sounds good, it's got the cheesiest title you could have. I took it home and just thought, fuck, the vigour of it and the Nigerian strength [laughs], the rudeness of it. The horns, when I heard them, I had this picture of these huge trucks on the Trans-African Highway and they have these enormous compressed air horns and that is what the horns on the record sounded like to me. They were so un-glamourised. They didn't have that kind of 'jazzy' soft, smoochy sound, they were just ""fucking get out of my fucking way!"" When I first met Talking Heads, the first meeting I ever had with them, they had been playing in London and they came over to my flat to talk about me working on their next album. So I said, ""This is the future of music"", and I played them Afrodisiac, and to their credit they were incredibly impressed by it. If you listen to the third album we did together (Remain In Light) it's so influenced by that. It's sort of shameful in a way."

"I think of all these three artists - Bolan, Bowie and Iggy - together and what I said about ‘The Jean Genie’ is all in there on the cover of Raw Power. Again, it’s illicit, threatening and very alluring to a certain kind of teenager looking for excitement, and in my case that was always through music and music culture. “I got Raw Power when I was fourteen because it was referred to me by Billy Duffy from The Cult, who would have been all of sixteen at the time. It was at a time when I was starting to recognise I had my own thing as a guitar player that my mates didn’t have, I’m not saying it was better, I just knew I was developing my own style. “Billy heard me playing a riff I was writing and said ‘That’s ‘Gimme Danger’ right?’ I said I’d never heard of ‘Gimme Danger and Billy said ‘That sounds like James Williamson.’ So I immediately had my back up, I was ‘Who’s this James Williamson kid? This is my new song, what are you talking about?’ But I knew Billy knew his stuff and that I really had to seek this record out, because Billy was sure that’s what I was playing and it was my new song. “I went into Virgin Records that weekend and I was stunned by the cover. It was Iggy bare-chested, looking like an iguana or a lizard and it was onstage as well, it was something that was really happening, not some photoshoot. I bought the LP for about £2.30, got it home and played ‘Search and Destroy.’ I couldn’t quite believe what I was hearing, the sound of the vocal and this distorted band and when it got to ‘Gimme Danger’ it was really mysterious, dark and moody. “I couldn’t believe it was exactly the same, the intro sounded exactly like what I was trying to do and what I was quite close to. That could have been really dispiriting or disheartening, but it had the opposite effect - it was really galvanising. There was a lot of Prog at the time but with this there weren’t these silly organ solos, it was just ‘done.’ I didn’t need it to go on for eight minutes, it was really hip and it shone a light for me. I’ve always used this album as a yardstick. “‘Gimme Danger’ was uncanny, it was the way I was starting to play the guitar and if you listen to the start I think it sounds like what people think I sound like. I’ve met James Williamson and he knows all about this thing that happened to me and it was great to be able to tell him, he was very surprised, pleased and gracious about it and that made a massive difference. I’ve been very fortunate to have that happen to me a couple of times, where people have talked about a riff I’ve done and how they tried to work it out. So I know what it means and it’s amazing, I don’t mean that to sound immodest, it’s just an amazing thing."