"When I first heard Led Zeppelin, I was a kid in kindergarten but my uncle and my mum used to pump Led Zeppelin loudly. I grew up with those mad eight-tracks and all the imagery in their songs hit my imagination hard. It was so hard to pick one record of theirs – I obviously couldn't pick them all but this is the one that came to my mind first and the one I think I heard and played the most. I also loved the album cover for this; I used to look at this record cover for hours and I'd never get bored. I got deeper into this record I think because I was hearing stories that if you played the record backwards, it said something. There were so many folklore stories around this album when I was a kid growing up and it was ripe for the imagination. Next thing when you're listening you'd see the fucking hermit from the tarot cards and you'd hear these stories that Jimmy Page bought Aleister Crowley's house and then next they'd suddenly be going to India and working with all these different musicians. All these wild stories, all the mysticism behind the band is what really sucked me in with Led Zeppelin. When this record came out, there was no internet and you didn't know if the stories were all true or not so they had this great mystery to them. There were a couple of television shows but I'd never seen Led Zeppelin on TV; there were no music videos back then either. Even magazine articles about them were short. There was a great mystery to them and it just left it all open to your imagination to make up its own shit and my imagination is wild. Their stage shows were also ridiculous and they completely revolutionised touring today. So many things they did inspired me, inspired Cypress Hill."

"I think The Hope Six Demolition Project and Let England Shake are this two pronged attack which is utterly perfect, entirely relevant and so important to be releasing this late into her career. I'd listened to Let England Shake a lot, and I felt PJ Harvey had changed so drastically with that record, and The Hope Six follows on from that so beautifully. I remember hearing 'The Ministry of Defence' and calling Dean [Richardson, Rattlesnakes guitarist] saying, 'Have you heard the new PJ Harvey? How are we going to release our album now? She's written a dirtier record than we could ever do.' It's amazing to see someone with that history in music release something that relevant, here's an artist who's so deep into her career and I think it's one of the greatest records she's made. She's definitely an inspiration; I think any artist writing at the minute would be foolish to not include some of the tragedies we're witnessing in the world. As artists we have a platform and a responsibility to talk about things that matter. They matter to me and they clearly matter to her as well. I find it incredibly frustrating that [more artists aren't addressing issues]. Either say something important or fuck off, essentially. Someone said a long time ago that stupidity was more of a problem than evil. Evil can be fought against, it can be revealed to be what it is, you can see it and name it and rally against it. Stupidity is much more dangerous because it allows evil to grow and breed and become the norm; you can't reason with a stupid person. I think when I see bands that aren't writing about anything important or releasing music that has no importance to them, I'm not trying to be overly political with my new record, it's a record about human relationships, but it was important for me to include [some political themes] because it's what's surrounded me for the last couple of years. We'll see who's got the courage."

"Well, I grew up in the sixties. In 1962, I bought the first Rolling Stones single, and I still have it. I still have every single they released, in order, right up until Brian Jones was murdered. I saw Pink Floyd god knows how many times, and even did a couple of light shows for them... We started listening to pirate radio and John Peel’s Perfumed Garden, and had a friend at school called Spidey who was very good at spotting interesting new music. John Peel was the first person to play The Velvet Underground, and Spidey said, “Listen to this, you’re gonna love this!”. That’s when we got the first violin. We used to go to Birmingham, to this tiny little record shop that had nothing of interest except some Albert Ayler and free jazz. There was a record in there, and we recognised the artwork from Oz magazine so we knew it was by Hapshash and The Coloured Coat, because they used to do psychedelic posters and Oz. So we bought it just because of that. It was on Magnet Records. When we pulled out [the disc], we were shocked to see that it was on red vinyl, which we’d never seen before. We later discovered that all these people on the scene in London wanted to raise money for the legals fees of John “Hoppy” Hopkins, the first person who’d been busted for drugs and who co-founded the International Times. He was a real mover and shaker of the times. It’s like twenty to a hundred people high on acid jamming! We fell in love with it and still listen to it all the time. When we DJ, people come up to us and ask, “What was that with that great riff?” Guess what one of them ended up doing? Writing “We Are The Wombles”! That really got me in the head, that was worse than a bad acid trip!"

"It’s in my top five list of best films ever made. I just think it’s perfect. It’s an amazing portrait of an artist, an amazing portrait of a family, Crumb is an incredible central character. I feel like whenever I watch that movie — I sort of watch it every couple years — I start talking like him afterwards. I mean he really infects me in a way that totally changes the way that I look at the world. All great artists have that sort of ability. When I read some of my favorite novelists after I put down one of their books, I’m thinking in their words. I’m seeing the world through their eyes and it’s the same with Crumb. I’m a big fan of his comics, but that film does such an amazing job putting you kind of in his headspace. It also looks amazing, it’s shot on film, Zwigoff does an incredible job framing Crumb’s world, and the Jazz music. it’s just great, I just think it’s great. I think the movie’s a pleasure to watch. I mean, his brother Charles is f—ing incredible, man. Like, the idea that this family produced not one great artist, three great artists. And that Crumb was actually the one who was political enough and sophisticated enough and just barely enough of a people person that his art got seen. But, you know, Charles and Matt also were like really pushing the boundaries of the stuff and also hugely influential on Crumb’s stuff. You don’t get Robert without Charles. You just never sort of have access to those stories the way that this documentary has access to that family. It’s a lot to think about, the artwork that we end up getting as a culture, you know, often times is less about what’s better, and more about how savvy the artist is and how able they are to kind of be in the right place at the right time so that there’s an audience for the work."

"I, on opening day, saw The Wizard of Oz — 1939, in Providence, Rhode Island. I even remember the theater, the Majestic Theater. Our dad [took us] and we slept in the street that night to wait for the first showing of it. And of course, just like everybody else on this planet, it’s made a lifetime impression on me. As a matter of fact, I think that H.R. Pufnstuft, which was our first television show, the whole feeling came from The Wizard of Oz. It wasn’t like it, but the story — with a boy instead of a girl, and all the characters and the trees and the witch — but we went in a whole other direction with ours. As a matter of fact, when the first Pufnstuft movie came out a year after we did the series, Time Magazine said it was “the next Wizard of Oz.” That was quite a statement. What else? Margaret Hamilton — as a matter of fact, I think the very last job that she had before she left us was in Sigmund and the Sea Monsters. She played the crazy lady next door who kept seeing the little monster and nobody believed her. She did two or three episodes for us. And the reason she wanted to do it? She wanted to meet Billie Hayes, who was Witchiepoo. She said Witchiepoo is the best witch; as a matter of fact, Billie Hayes met her at the airport and they became great friends. And the reason for being of Land of the Lost? In 1940 there was a movie called One Million B.C. Marty was just a couple of years old, and I was eleven. I had never seen a dinosaur moving; no one had. Only in our schoolbooks. I would take him to see One Million B.C. with Victor Mature… wow. That made a huge impression. It scared the hell out of me. Because, like I said, we had never seen a dinosaur moving before! And that idea gave us the idea to do Land of the Lost."