All the way through time, whether it's 'The Rover' or 'In The Light' or wherever you want to end up calling to you, loads of different songs have had reflections based on experience.

I think that by the time I got to Mighty Re-Arranger, I had just come out of the Dreamland period of creating trippy music based on the gifts of the musicians around me.

And, of course, in the company of these guys, they already had the powerful ammunition that was necessary for the Sensational Space Shifters.

They were already riffing over these African beats that were not polite and I saw a place I could go to take my madness and make this mélange that shows no respect for anyone or anything. With Raising Sand and Band Of Joy, you released two very successful albums rooted in American vernacular music. RP: There's a 'yes' and 'no' surrounding this before we even get into that.

I have some old cassettes of Cheb Khaled that I bought in Barbette in Paris, which is the big North African area, and he played this music on accordion.

I learned to play these songs on guitar and I then realized that I was learning a Fairport Convention song!

His version of 'Little Maggie' came out in 1948 and it was first recorded in 1928 so I didn't turn my back on it at all.

I just came back to, if you like, Led Zeppelin III, not as that album but as me going back to the misty mountains.

There's that line in 'Turn It Up' where you sing, "I'm stuck inside America/It's turning me inside out". I'm not used to that because I live among people that I've known forever.

I have a place and it's not an elevated place here on the island of the blessed.

I was so impressed by the coherence and adamance and the power that musicians in the youth culture were able to steer with social commentary in America – musicians who were regularly pilloried by the likes of Richard Nixon and the paranoia of the right-wing fascists that were there – so songs like 'That's The Way' were like my awakening.