"When I first appeared, after I did this EP in 1982 with Robert Wyatt [Summer Into Winter], I got a feature in the Melody Maker. The headline was something-or-other "in a blue afternoon". I was likened to him, but had never heard him – I was just a teenager when I made it, after all – and it took my years to find the actual album. It took years to find anything back then. Also, it'd been out of print for years, but eventually I found it, and still love it. 

It's only been since I've got older that I've thought about the roots of that culture, about these men like Fred Neil, Tim Hardin and Tim Buckley who grew up in that New York 1960s culture clash between jazz, folk and the blues, playing supperclubs, smoking weed. This is the first album Buckley produced himself, and it sounds like it. It's got the sense of someone reaching for something beyond his capabilities at that point. It doesn't always work, it's not always perfect, but it's all about human ambition, in its feel and it execution. I love that. All the best albums have that.
"

"A rather lofty title, but it’s totally misleading because it wasn’t recorded at Carnegie Hall at all. It was a kind of attempt to suggest a concert at that venue. I guess the label wanted people to think, Wow, he played at Carnegie Hall. He must be important! “Which, of course, he was. From the singles he did, like Ain’t That Lovin’ You Baby to Baby, Where You Going? to albums like I’m Jimmy Reed, the man was a treasure. “This was a two-disc set, and that in itself was a novelty. I got it when I was around 10 or 11. I don’t think I ever saw a record that had two discs in it before. Such a cool album. “Musically, somebody might listen to this and go, ‘Oh, that’s just three-chord stuff.’ But the complexity that takes place between the exchange of [co-guitarist] Eddie Taylor and Jimmy Reed is fascinating. A Mississippi mystery. Even though they’re playing two entirely different figures, it all meshes in a way that makes it impossible to figure out who’s playing what. I think this record influenced many, many guitarists. Check it out, it’s a party"

"""I first got a copy of Raw Power in high school, so this was my first exposure to Iggy and The Stooges. At that point, I was more familiar with the more overt versions of punk, like the Sex Pistols or The Banned, and as much as I knew that The Stooges were punk rock they just weren't described in those terms, and that felt about right. They somehow felt more sensual - they were harder to define. It seemed as if they were teetering on the edge of something the whole time. "This song is a perfect example of that. Is it a ballad? Is it a rock song? Is it a soul screamer kind of thing? Really, it's all of those and it says a lot about my limited understanding of the style at the time that it didn't sound like punk to me when I first heard it. It's maybe the most feminine, least male-aggressive track on there. It's not 'Search and Destroy', and it's not ‘Your Pretty Face Is Going to Hell'. I mean, he's saying ""penetrate me!"" It's my favourite song on that record."