"He released records on numerous labels, but this album was on the Herald imprint, and it features a song called Moving Out Boogie that alone is worth the price of admission. He kind of talks his way through it – it’s not really singing in the traditional sense – but the guitar playing could wake the dead. What he does in two and a half minutes on the guitar is enough to make you want to throw your fuzz and wah-wah pedals as far away as you can. Just toss 'em over the fence! If you can play Moving Out Boogie with even a third of the spirit of Lightnin’ Hopkins, then you just might have a chance. It’s the way to move, man. He played it like he wanted to play it. Our fair bassist, Dusty Hill, worked with Lightnin’ Hopkins a bit, and one time he said, ‘You know, Lightnin’, you seem to play in odd time signatures. One verse will be eight bars, and the next will be 10 bars.’ And Lightnin’ just said, ‘It don’t matter. Lightnin’ changes when Lightnin’ wants to change"

"I saw her at a Mississippi Records evening at Café Oto. I went there because the guy from Mississippi Records had somehow inherited 700 hours of footage by a man who woke up one morning, I think in the 80s when the technology of hand-held cameras had just appeared, and he felt like he had a mission to go and film people, poorer people, and how they expressed themselves, artistically and spontaneously. So we're not talking about people who were trying to make records, just people who play the guitar and sing or whatever, just musically expressing themselves. And that man felt like these people would soon disappear, that society would disappear and it would be extinct. And I think he probably had a very strong intuition that proved to be right. I think technology will soon take us away from just picking up a guitar and singing some songs, spontaneously. It's refreshing because we don't see that on TV, where everything is manufactured and filtered. It felt so good for my brain and my senses to be connected into that, and to witness all of these expressions."

"I prefer Metal Box, but this is a wonderful album and it just shows you where Lydon was culturally at that point in time. And he was obviously a bright fella. In interviews he was always talking about bands like Hawkwind and Can, so you always knew he was going to come from the left field, but the album didn't sound like anything else. I mean, Wobble's bass, Donut [Jim Walker]'s drumming, Keith Levene's guitar. I saw them play and Keith Levene had that metal guitar and he broke string after string during every song, Wobble was just sat down, and the whole thing just captured the bedlam but it just wasn't delivering what people were expecting. If you listen to 'Religion', it is just so cutting and stark and amazing; he channelled all of the anger that he had in a way that he couldn't with the Pistols because he wasn't being manipulated. He was cynical by this point because of the way he'd been treated and all the bullshit, and it all came out on this album. It was a game changer, this album."

"When we first started touring in ’96 we were in a van, four guys, a tech and a tour manager. There were no iPhones back then so whatever CD somebody put on was what you were all listening to. So Stephen [Carpenter, guitar] put this record on. He played this CD so much that we threw the CD out the window. There’s a song on that album, ‘Stone the Crow’, I heard it the other day and it took me straight back to being in the van, on tour."

"Somebody's elder brother had it, I remember it was on Pye Records, and my God, that insane guitar started it all for me. But I have to be careful about sharing my tastes in music because it comes back to haunt you. I said once that I liked Van der Graaf Generator andbefore I knew it I was accused of ripping them off. Perhaps it's safer to state that I like Steeleye Span. Mind you, I shared an Irish coffee with them in Vienna once and left them with the bill, so maybe not."