"The second film that I suggest is called The 36th Chamber of Shaolin, also called The Master Killer. This film moved me so much not only from the martial arts action and the philosophy of Buddhism that was instilled in the movie, but also the overcoming of oppression. Growing up, I knew that I was being oppressed; I knew the black man’s struggle was oppressive in America, you know, reading Malcolm X and Martin Luther King. I knew of our struggle. But I didn’t know that that struggle was all around the world. I didn’t know that struggle was in all time periods. And when I saw this movie, it resonated with me in a way that I was like, “Wow, the government is just oppressing them, coming in and taking their homes, destroying their property. How they gonna win?” And from a single word, which was “Shaolin,” our hero was able to go find himself and find the way to help bring the end to that oppression."

"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.""

"I think that tune is such a perfectly crafted piece of music. The funny thing is there's two mixes. There's the Jamaican mix, and the Jamaican mix is tough but I do like the other mix too. I got to work with Tony Platt who was like the engineer at a lot of those sessions and he was telling me all sorts of stories. And then what the song was about, when he was living in London and he was hanging around in Soho. It makes so much sense now because when I was really playing this a lot was when I was spending a lot of time in Soho, going to Ronnie Scott's, learning my craft, learning to play drums and jazz, going to clubs, hanging out ‘til 4am. So I felt it, I could picture him being there like ‘Rahtid…’ Everyone's been out on the night bus and seen something and think did that just happen? So I've always had an affinity with that particular track, sonically and content wise. I think people don't often talk about that side of Bob, and they’ve made him out to be this ganja-smoking, peace-loving guy, that’s not really what he's about. He's very political and does a lot of social commentary."