"I rekindled a fondness for hip-hop having spent so much time in Houston, Texas, which lately has been revealed as the unexpected destination to make rap and hip-hop records. That's due largely to the presence of the Geto Boys and Bushwick Bill, Scarface and even Destiny's Child. When ZZ Top were recording the album Rhythmeen our studio was undergoing a facelift so we went into an alternate studio, John Moran's Digital Services, where many rap records have been made. There was the left room and the right room, adjoined with the shared group lounge area. I was trying to figure out how the hip-hop guys and rappers got such great-sounding backbeats. And of course what they didn't have was this kinda bluesy guitar. To this day ZZ Top aspires to keep some crunch and grit as part of the fabric. What started the ball rolling back in that direction was the movie Straight Outta Compton. All of a sudden I'm watching the genesis of NWA and what really started such a robust scene. I'd watch that movie ten times. And I probably will [again]!"

"Little Walter was a cool character. He had attitude, skill…the whole act, he had it down. He could play guitar, but he was a master of the harmonica. Basically, he wanted to be the stand-in for a four or five-piece horn section. People weren’t used to seeing a guy cup a microphone around a harmonica, crank it up and just blast off on these wild solos. He was practically his own band – he was certainly loud enough. As well as his skills on the harp, Little Walter became a fine singer. In fact, he used to be in Muddy Waters' band until he struck out to find success on his own. And he got it, too: His first big hit was a song called Juke, and it’s pretty incredible. You listen to eight or 10 Little Walter songs and you’ll probably have to scrape yourself off the floor or the ceiling, depending on which way the music sent you. This big ol’ box set, I can’t imagine what it would do to people hearing Little Walter for the first time. You might need some intermissions between discs just to get your senses back in working order."

"I was not really listening to what was going on in 1979. A lot of popular music wasn’t very good. There was a lot of punk hangover and a lot of it was a bit… whatever. At that point, Wire were stratospheric; it wasn’t really important to listen to what other people were doing. We didn’t have anything to do with Gang of Four. They were coming from a very different place. We studiously ignored Joy Division because they seemed a little too derivative of us. Maybe that seems like arrogance in hindsight but that’s how it felt at the time. Bert Jansch’s Avocet was very off compared to what was going on in music in the late ’70s. I knew about him when I was in school because he was in Pentangle. The whole thing with music fans in the late ’60s was all about: “Are you Jimi or Eric?” Then there was a group of us who were a bit cooler who said: “Are you Bert or John?” Which meant John Renbourn, the other guitarist in Pentangle. The kind of people who liked Jimi Hendrix would sit in their room playing solos and making a guitar face."

"Jesus Christ, that album is just stupidly good! I didn't know this, but a lot - Ginger Baker, Tony Williams, who played drums for Miles Davis, Steve Vai - it was a supergroup! It's a perfect record, it's like the perfect, cool record. The guitars on it, it just sounds like it's flying! It's like, ""Wooo, there goes Steve!"" There'd be divebombs - he had a Floyd Rose whammy bar - it just tanks - it goes down and then it goes up, up into the stratosphere, and then he'd go really down on it. Jesus Christ - talking about sonics! And it's surprising how many of the drum riffs that I like are by Tony Williams: the first song ['F.F.F.'] on it is just awesome; I would've thought that was Ginger Baker. I guess the producer employed two jazzy drummers! I was listening to this pre-Pixies. I listened to it a lot with my brother, my little brother who's excellent with the guitar. I still lived at home at the time and we would just flip out in my bedroom. He would actually show me [how to play something], because I would be so frustrated: "Goddamn it! What is this?!""

"I got this when we were already started, it was when I raided the album closet of Elektra. It's one of the albums where it was, "Yeah, I gotta have this one". Tom Verlaine and Richard Lloyd traded off rhythm and lead, it'd be like their version of 'Dueling Banjos'! They took turns and there's all these different elements to it. That probably seeped in to [his and Black Francis' playing] on 'Monkey Gone To Heaven' through osmosis. We didn't mean it and it was just lucky. We just figure stuff out. Charles [Michael Kittridge Thompson IV, aka Black Francis] just leaves me alone when I'm doing my guitars. He would say "'Pixify' it", it's when the Pixies really become the Pixies. I'm just quoting him! It's kind of true in a little way. Of course it would be, that's the job, that's a lead guitarist's job, and Charles' job is to make Pixies songs and all that stuff. The guitar happens to be front and centre of the mix. They would even say it, "Now it's Joey's turn", and Charles would say: "Ah, now it's the Pixies.""