on Bo Diddley

"Say you get together with the group, and we're all trying to be friends with each other, they'll all put like Pavement, Sebadoh, REM on;  I'll put bloody Bo Diddley on."

on Hey! Bo Diddley, "This is the best music ever - just one drum and guitar, out of tune and dead simple. I finally managed to get hold of his 16 Greatest Hits album the other day. It's marvellous. He's very influential but never gets much credit. The Stones just pinched riffs off every second song of his. I met him a couple of times. I lived in Chicago for six months and he lived just around the corner. He was the local sheriff of the borough. He wore a badge. It was surreal. he's a great guy - a real hero."

on Captain Beefheart & His Magic Band

"It's freeform with discipline" and on Dropout Boogie from album, Safe as Milk, "It's hard to choose a Beefheart track because I like them all. This is early, dead short, and very simple for him. I was 16 when I first heard him. I bought Strictly Personal, which was a budget album. When you're at school that's all you can afford and then I took it from there. I like the way he kept trying really hard despite never getting recognition and then just stopped. His music is so well worked out, he did things with guitars that no one else has ever done. He'd get the drummer to play along to the main riff, which is really revolutionary stuff. He was tagged with that '60's sound but that wasn't him at all. I think he suffered from the Zappa connection too; for me the two of them are polar opposites."

and on Orange Claw Hammer from Trout Mask Replica, 
"This is just the Captain singing with no backing. It's a really good poem about a sailor who finds his daughter. It's very moving, very emotive. Trout Mask Replica's a fantastic album but probably not the best introduction to Beefheart. It tends to drive people mad when they first hear it."

on CAN

  "I've liked CAN since I was about 13 or 14. I got into them through listening to Peel. Ege Bamyasi is an underrated LP, and it's recorded very well. I like the way it's open-ended. Damo's a good mate of mine – he actually sent me a tape when I was in Tokyo. He doesn't believe in making records any more. He's one of the few heroes I've met. He's still the same."

on Father Cannot Yell, track from album Monster Movie,
"I'm into Krautrock. At one time it was the only music I listened to. This is an early track before CAN got hip. They were surprisingly rock'n'roll when they got started. It was a case of anything goes with them; they were not afraid to experiment."

on The Velvet Underground

on the group and Lou Reed,
"....Old Wave"

and from an interview in 1999, about a 'song that evokes the best summer of your life',
"I like summer very much, because I never go out in summer. Once April starts, people go out like dogs, so I stay in. Summer is hell. There are a few songs that remind me how horrible summer is.

"Like White Light/White Heat. It says it all in one minute 30 seconds."


on the track I Heard Her Call My Name,
"I like this tune. It's off the White Light, White Heat album, which is their best LP. They were really pissed off at this time and everything is drenched in feedback. Mo Tucker is in her prime and it contains the best guitar solo ever. It's written by Lou Reed and I used to think he was the bee's knees. I like the way he changes all the time although I don't like what he's doing now. But I do have a lot of respect for him."

on Brian Eno

"Yeah, I'm definitely into the avante-garde. I like Schoenberg. Stockhausen, too....But I've always hated it when groups use it as a code. I think Eno's a lot to blame for that, although what he did was very good."

on Evil Blizzard

reported in The Lancashire Evening Post in June 2013, “I like Evil Blizzard, they give me hope that music is alive and kicking”

on Public Image Limited

extract from an interview in 1980,
"I feel a bond with PiL. PiL are doing a lot of what we've always wanted to do. They've got the power as well. PiL's stuff is really good stuff in my estimation - turning it all round, which is about time.That's what I mean about having your own style. Can were a perfect pop/rock 'n' roll band in my estimation. A lot of people don't see Can as rock 'n' roll, or PiL as rock 'n' roll, but I do, because it's music you'd never get on the television. There's something out that your parents would not sit through. They're all cliches I know, but a lot of letters we get from kids say "my mum and dad will not allow this in the room!" You get people saying "That guy cannot sing", "He's horrible" or "Listen to the production". It's not just the older generation I'm on about, it goes all the way fucking down. You have to sit down and get into the primal part of it, and they don't want to do it. It's the old Outsiders theory - the rough eventually gets absorbed into the whole..."

on Link Wray

"He's just a great guitarist. It's not twangy like The Shadows; there's something really vicious about it. Maybe it's Link's Indian blood! I've got an LP somewhere of Link Wray live, in '88, doing ‘Jack The Ripper’ and ‘Rumble’, and he's just as good – you can't say that about a lot of people. Unbelievable."

on the track Jack The Ripper,
"Yeah, he’s one of the real rock grandads, isn’t he? I think he’s brilliant. He’s a Red Indian, and he makes all his own guitars. He lives in Denmark now, apparently. No, I don’t know why - why should I? I’ve met him. Was he mad? No, not at all, show some respect! He was a dead nice bloke. He used to make instrumental records that got banned for being too un-record player friendly, because they were too full of distortion and shit like that, hahaha! Link Wray is the only man who can get records banned without even writing f***ing lyrics! He’s a hero, a really great man!"


on The Beatles

The Quarrymen/The Beatles played 15 Chuck Berry songs regularly in their live shows between 1957-64 and recorded several live songs, later released in a live album in 1994, The Beatles Live at the BBC. Quote from an interview while on tour in San Francisco in 2006, about authenticity and control in the music industry.
"I think black music is over-patronised, y'know....upper middle class people running a load of working class people and ripping them off!......We are separate from that...Say, look at The Beatles, or more, look at The Beatles - to me they're just bits of pieces of things, old age bits of Chuck Berry and that sort..."

on John Lee Hooker

"......I'm really into John Lee Hooker myself. He's great, solo, without a band. His bands are crap."