"It’s the ultimate, sprawling ensemble Altman film — the way each character has their own story to such a degree, and he pulls it all together. It has these thrilling moments, these funny moments. The music is both very moving and satirical, funny and beautiful too. Keith Carradine’s song, “I’m Easy,” is a beautiful song, and some of the other songs like “200 Years” by Henry Gibson is hilarious. It’s just ridiculous. So, that you could have all of this go into one big collage where you have realism, satire, romance — it’s all there — is quite a feat. And I actually saw this when I was a teenager — fourteen or fifteen — and I was bored. I didn’t really understand what I was watching, but I saw it a little bit later, and it kicked off something else in me."

"The New York Times asked me to review Keith Richards’ rock and roll memoir, Life. Due to a printing delay, I was reading and writing my impression of his chronicle while I was out on tour myself. It was a delight to immerse myself in such a jaw-dropping account of the peripatetic lifestyle I was experiencing, albeit at a much shallower altitude. The Rolling Stones are iconic by any measure. Getting an all access pass backstage through Richards’s eyes to the world beyond the bright lights and throbbing amplifiers is as thrilling as you might imagine. You will laugh out in parts, nod in recognition at the famous cultural touch-points and feel proud to be a music fan. Rock and roll has a very specific ethos, and Life hits upon all of the sacred precepts. Plug it in and turn it up to 11."

"In 1968 I came to England and stayed at the Inverness Court Hotel in Bayswater. I bought a little hifi - hifi? Lofi! - in an electronics store, and bought Beggars Banquet and The White Album, and listened to them on acid. American acid. Then we went to the Roundhouse and took the guy we bought the turntable from and we never saw him again. American drugs and British drugs were different. Like the difference between American weed and the stuff you had here, mixed with tobacco, Smoke American weed and it was "Cuckoo!" - you're on the frickin' moon. Our acid was LSD from Owsley, the real stuff, and we brought it over. We were eating it like candy. And that's what we gave the to the guy who sold us the turntable. The Stones were the greatest rock'n'roll band ever. They were smart rebels, and you can't make up the stories about Keith, they're too good. They're the blueprint for every band there is."

"The first song I heard of theirs was called 'Funky' and the B-side of this was a song called 'Mentally Mad'. I was just listening to a mix show of theirs one night and they played all this new shit. I was like: 'Who the fuck is this?' I needed to know everything about this group from there; I knew this shit was ill. I discovered that they were from the Bronx and the more I listened, the more I realised that their beats were hard as fuck. I started reaching around and I found the 12"" single before the album came out and a few other songs. When the album eventually came out I was just mesmerised, especially with Kool Keith and his high-pitched rhymes talking about all this space-age, futuristic shit. It influenced me massively in that it was just this mad, unorthodox music and when I started making music, mine was very unorthodox as well. They were talking spaceship shit, like it was from another planet and they were 'Hardcore Bronx' fools too. The beats were banging with a big old bass and it just felt like some next level shit. It was hard as fuck, street shit set against these incredible lyrics – you just did not hear people talking like that. Kool Keith would rhyme but he'd also do this shit where nothing at all rhymed (like 'Mentally Mad') and that was very different at the time. They came just before Doctor Octagon and I never got into them or none of that as it felt watered down. Ultramagnetic MC's were just pure hood shit and they stood out because of it. Critical Beatdown was just incredible with the music and the beats they used. There's something too about having the contrast of the deep voice and the high pitched voice that's kind of like B-Real or Chuck D and Flava Flav. When one goes away, the other comes in and they switch again: when they come back, it's always more powerful too. They created a really dynamic sound."