"He started so much. One of the many things I love about Bo Diddley, besides the fact that he created his own instruments with his own effects in them and was one of the first rock & rollers to have women in his band and wore glasses, is that he was a complete original. He's playing blues but it also feels like pop songs to me. Maybe I'm using that term a bit loose but a song like 'I'm a Man' or 'Before You Accuse Me', there's something to them. I feel like it's almost slighting them to call them pop but they're put together in a way that it's not Robert Johnson. There's something new that he's doing here. The fact that he had those shakers and it was such a big part of his sound. We've used that shaker sound and have tried to duplicate it many, many times. You use a little bit of room and you distort it a little bit and that's the Bo Diddley shaker sound. He took a form and made it something else."

"They're a band from near Chicago. This is a heavy record, and it's where Deftones get a big part of our influence from, tone-wise. There are these huge chords going on, a huge backbeat, rolling basslines going on underneath, a lot of that has directly inspired certain songs. There's a wall of sound guitar, it's heavy and even bombastic in a way, but it's produced very well. We approached the producer about doing something for us, I think around our first or second record. I think the vocals are an acquired taste, he didn't have the best singing voice and he talk-sings, but the lyrics are very scientific, he sings about the stars and astrophysics, really odd topics, but the songs are really warm, there's a romantic vibe there as well. I knew I had to pick some records that inspired us that were older records, and this is one - I listen to this now and it's stood the test of time, and Deftones were definitely influenced by it."

"This wasn’t my introduction to folk music by any means, but it was my introduction to Irish folk music that wasn’t merely The Dubliners or The Chieftains. It was Irish music that had a bit of balls and a bit of a wayward quality that came I think from those guys knowing about rock music and, generally speaking, what was going on in the UK. You could call them the first progressive folk band. They had a good way of bringing together bits of tradition, mostly Irish traditional music, with an awareness in terms of arrangements that could only come from a knowledge of other musical forms. And of course they feature what was a growing, new instrument, a non-indigenous instrument of Irish music: the bouzouki. Not the bowl-shaped Greek bouzouki but the flat-backed bouzouki that was being made by luthiers in Britain and Ireland as a more convenient, big boy’s mandolin. The bouzouki became an important part of Irish folk music and Planxty used it to great effect."

"We've played with them quite a few times over the last couple of years, getting to know James Murphy and hearing that music in unexpected places. I love them now. I think I loved them too late, now they're broke up or whatever, but I love them. It's hypnotic, [like] we're going to grind away and discover the nuances. It's not about a big giant arrangement that takes you up and down, it's about being on the edge and going, and going, and going. They did that well, he had a great band. And their sounds are important, it isn't just guitars and keyboards. We'd see them play and they'd take a lot of effort to get these little sounds that all work together. We got to know that record by it being around all the time, which is great, because you're not just putting it on and going 'What is this shit?'. You're just hearing it and going 'What is that, that's cool?'. 'Dude, it's LCD Soundsystem.'"