I saw an interview with Keith Richards. He said, 'How else could a kid in Dartford suddenly connect with and understand what Muddy Waters is singing?' There's a cultural difference, but there's just something in that music that subconsciously or internally you just understand; it just makes sense.

So much is filtered by pop music today, because the music industry is driven by single, single, single, single, the next single, not the nurturing of artists and that kind of thing.

In the early-'60s, when you look at that period of time - up to the mod time - when everybody was wearing skinnier suits and skinny lapels and skinny ties - that came out of the States, and that was quite cool.

There's always something in most world folk musics that always seems connected; whether it's a bagpipe or a tambura, there's always some sort of drone instrument, and there's always percussion.

When I discovered blues - I was 12-years-old - I didn't discover it in America where it was from; I discovered it from Fleetwood Mac - the original Peter Green Fleetwood Mac, Saveloy Brown - like British blues interpretations of it,' which then, when I started the liner notes and seeing all these names, I was like, 'Who's Willie Dixon?' Then I go to the record store and ask the guy there and he goes, 'Oh, you don't know anything.' And so, to me, that's the root of most of it anyway.

You can listen to music at any moment in the day or night. Which is great, but I think it kind of devalues it as well.

It is nice to make a record and people like it, and it's encouraging.