"This well known 1968 album is a pun on the fantastic expedition of Lewis and Clark, the famous leaders of the USA's 'Corps of Discovery' who were the first east coast Americans to successfully negotiate the north west passage to the Pacific Ocean in the early 19th century. Of course this ties in beautifully to the John Evans story featured in American Interior - Lewis and Clark used the maps he created between 1795-7 (whilst searching for a mythical tribe of Welsh speaking First Nation Americans) for the first year of their expedition. There's a keen sense of the rhythm of exploration on this fantastic record. Dillard's peerless banjo picking could easily power a steam boat up the Missouri River and Clark's melancholic musings on songs like 'Train Leaves Here This Morning' give a clear sense of long distance travel and loss. Meanwhile a team of proto Country Rock greats including Bernie Leadon, Sneaky Pete and Chris Hillman play away busily in the background, setting the benchmark for the mellow mountain sound that would dominate the airwaves the world over in the following years."

"I don’t mean this in a derogatory way, but Graham Oliver and Steve Dawson of Saxon were into the bluesy bands - simple but with a lot of groove. But me and Paul Quinn were into more muso bands like Genesis and King Crimson. That was the type of stuff we played, with more jamming and improvisation. As a bass player and singer, my goal was to play like Chris Squire. I used to try and learn the songs – it took me about six months to learn ‘Roundabout’. I‘ve talked to Rick Wakeman about Yes, and he said Jon Anderson would structure melodies like I do it. They would sit in a room and arrange things around the vocals, and we do that because it gives me more freedom to write. I could listen to this all day. NWOBHM bands liked Yes because the musicianship was great - it moves away from blues feel to a jazz feel. A lot of these guys were university trained, but we learned from listening to music. We knew nothing about music theory or scales, but prog rock really made you better as musicians when you learned to play it. It seemed unattainable because it was so good."

"It was 1991/2 when the Spin Doctors had their relatively brief moment of huge fame, and their first album went triple platinum. I actually first saw them on The David Letterman Show in the early days of that, and was intrigued by the bouncy, very New York, educated and musicianly sound of the band, who were clearly great players. They were very much a product of that era when very good, very musically aware, very elegant musicians got together to make very direct rock music in a way that sounded so fresh and unlike the other stuff that was going on. They were musos, not a bunch of kids in a garage. They were guys who really knew about time signatures, rhythms and arrangements and had great ability with their instruments. And the singer, Chris Barron, brought a freshness in delivery that worked extremely well on The David Letterman Show and in the few videos they did at the time. I actually went to see them live in the UK and I met them, at the Wolverhampton Civic Hall or somewhere. The guitar player was a very charming guy, a bit of a fan and very pleased I came to the gig and went backstage to say hi, whereas the bass player and drummer gave me the cold shoulder, as if I was from a previous generation, like an earlier episode of Star Trek. For basically a three-piece with a singer they made a very cohesive noise."