"The second side of this record has three songs that I think are some of the greatest sung by anyone. 'On The Beach', 'Motion Pictures' and 'Ambulance Blues'. They are my favourite Neil Young songs, and they are very introspective and miserable, but they have something about them that makes me want to return to them again and again. I don't find them self-indulgent or too bleak to listen to. It's a deep record and I get a huge amount from listening to it. There's something about Neil Young, he can just do so many different styles, but I guess he's most well known for the After The Goldrush or Harvest records. This is darker, but there's more to get lost in, for me. It sounds a bit all over the place. The first side of it, the tracks are produced by different people over different sessions. Neil Young was making an album like that around this time where he was cobbling them together; he'd make an album then decide not to put it out, and then he'd take tracks from one and then put them on another. Despite those different sounds, it works as a whole record. Neil Young was the first songwriter whose songs I learned to play on the guitar."

"I don’t mean this in a derogatory way, but Graham Oliver and Steve Dawson of Saxon were into the bluesy bands - simple but with a lot of groove. But me and Paul Quinn were into more muso bands like Genesis and King Crimson. That was the type of stuff we played, with more jamming and improvisation. As a bass player and singer, my goal was to play like Chris Squire. I used to try and learn the songs – it took me about six months to learn ‘Roundabout’. I‘ve talked to Rick Wakeman about Yes, and he said Jon Anderson would structure melodies like I do it. They would sit in a room and arrange things around the vocals, and we do that because it gives me more freedom to write. I could listen to this all day. NWOBHM bands liked Yes because the musicianship was great - it moves away from blues feel to a jazz feel. A lot of these guys were university trained, but we learned from listening to music. We knew nothing about music theory or scales, but prog rock really made you better as musicians when you learned to play it. It seemed unattainable because it was so good."

"I moved to Austin for college and really loved it. It was a place where there was an arcade that was open 24 hours a day. There were buses going by, and a million people around. And I loved seeing cultures that I just didn’t see in Temple. Right around this time, I started looking into Public Enemy and I read The Autobiography of Malcolm X twice and, well, my eyes were opened quite a bit. There were black people in Temple, but, for instance, at my high school there was a big parking lot, and there was a divider that divided one third of the lot from the other two thirds, though not with any intention, I don’t think. It was just there. But most of the black people in my school parked on that small third, and everybody referred to that parking lot as “Africa.” That didn’t strike me as fucked up in high school, but after reading Malcolm X and listening to Public Enemy, I felt a real drive for there to be more justice and equality. For me, it’s very easy to feel spiritually connected to the underdog and the oppressed. Chuck D is a hero."