"I was up in Toronto rehearsing for the Painkiller tour and I saw Dimebag [Darrell, guitarist] on a local TV show and he was wearing a British Steel shirt. They played some clips of their music and it just instantly struck a chord. I jumped into a taxi and went down to the studio where they were recording this show, met him and became good friends. That night they were playing at a club in Toronto, and when I saw them live I was just blown away. After that, Priest took Pantera on tour in Europe and they'd never even been out of America before, but every night they would just stun the crowd. I just knew from the moment that I saw them, they were going to be huge. It's just a really great memory. What they were doing at that particular time was revolutionary. Before Cowboys From Hell, they were finding their way. Like any band, they were just trying to find out who they were and find that spark to make something happen. When I heard 'Primal Concrete Sledge' for the first time, my reaction was to just say, "Oh my god, what is this? I've never heard anything like this before." I got to work with Dime on a song and it was a thrill and a treasure to have that opportunity. The label said that there was a movie coming out, Buffy The Vampire Slayer, and asked me if I'd do a song. The one that I came up with was 'Light Comes Out The Black'. I didn't really know anyone locally who was available at the time. I picked up the phone and spoke to Dime about it and he told me to come down to Dallas because they were on a bit of a break. I flew down there the next day and played with him. It was done in more or less six hours and we ended up just sitting around trying to find something else to do with it."

"It was a real wake-up call. Hip hop until 1984, 85 was fun but for the most part it was party music. Living outside New York we'd listen to WBLS and Kiss FM where they played a lot of hip hop and me and my friends liked it, but it was very lighthearted. The Fatboys are the perfect example, or the Treacherous Three, where they have disco basslines and this fun vocal. Then almost out of nowhere Public Enemy happened. Everything about it was different. The lyrics were different, Chuck D's vocal approach was different, the subject matter and the production, the Bomb Squad. I remember hearing it for the first time and thinking how did they do this, because they've basically made punk rock hip hop, the sounds they were using, the way they were distorting basslines, it was a lot of the same ways industrial records were being made but they were making hip hop. It was so revolutionary. You can refer to musical culture in New York as before and after Public Enemy, it changed the city. New York was so dangerous then, it had the highest murder count, people were getting stabbed and shot and the crack epidemic was decimating communities and people were dying of AIDS. You'd go out to nightclubs in the late 80s and you'd hear these apocalyptic Public Enemy songs that perfectly described the city that you lived in, but they were oddly celebratory and you could dance to them. For better or worse one of the reasons I've left New York is because the city I grew up with is still there, but it's become a much meaner, safer version of its former self. I still love New York, but it's become primarily the domain of hedge fund managers and wealthy tourists, so I don't know how many more Suicides and Silver Apples and Public Enemys and Eric B & Rakims are going to come out New York City."