"Rick Rubin embraced Johnny Cash when he was floundering without a label. Rick thought this was unthinkable. He started soliciting writers beyond the country community and they did two great, odd, dark records. I wound up writing a song called 'I Witnessed A Crime' without knowing that Rick was going in this more contemporary vein. I later discovered it was too mid-’50s; too perfect for old-school Johnny Cash. So it didn't reach release until it was bootlegged out of the studio and found its way to YouTube. 

Rick called me up – I live just walking distance from house-to-house: ""Can you come over?"" I said, ""Well, you still got that old Fender guitar down there? If you let me play it I'll come on down."" He had this stunning Fender Esquire from 1954. I walked down and the door opened up, he ushered me into the living room and sitting on the sofa was Johnny Cash and June Carter Cash. I was dumbfounded. So we sat down this close and he said, ""I like that song."" June started welling up and said, ""Ooh, you played the solo just like Luther Perkins."" I said, “Well, I'd like you to help me get through it.” We wound up singing it across the table. Little did I know that Rick had hidden microphones, capturing the whole thing."

"I was turned onto this by Rick Rubin. When we were writing White Pony I met with him to talk about him producing it, and he played me this record. I don't know why he played it for me, but I instantly fell in love with it. It's very soothing, super slow, a similar vibe to the Bohren or Sade, it's below mid-tempo, it's very slick, very warm. The lyrics are very simple but the vocals are right in your face, and under that the music really gets to breathe. The chord progressions sound really 1950s, those slow 50s picking patterns, the chord sequences are really simple, it's very honest, it's very pure."

"I saw The Beastie Boys when I was about 14, perhaps around the corner at Hammersmith Odeon. I was fucking obsessed. There were loads of twats like me wearing ill-fitting Adidas, looking like Harry Enfield characters. We were so into it, but very young. I started off with Run DMC, though, I liked the stuff where it was just a drum machine and them singing. We were really into Def Jam, and we pre-empted a big wave of other people being into it. I think we saw Run DMC as well, that was a bit tougher. I guess with Beastie Boys, cynically they were just Russell Simmons and Rick Rubin saying ‘let’s make a band for all the white kids’, and we were just gone, we were away."

"This one is the opposite of eclectic! I was a Cult fan anyway. A lot of people at school were into goth and I wasn’t so popular because I was into rock, but I felt like the Cult fell right between the cracks of those two scenes. And then there was the Manor Sessions and the stuff that they recorded for Electric that was recorded in the more traditional cult style. And I love the story of Rick Rubin telling them to throw all that stuff away and to use Les Pauls and simple sounds – basically trying to make them sound like AC/DC. A lot of bands tried to sound like AC/DC, but the Cult doing AD/DC is its own thing, and it’s really brilliant I think. The first band I was ever in played ‘Lil’ Devil’ and that’s a pub classic, and if you’re writing pub classics then you’re doing something right I think. ‘Wild Flower’ is definitely the one for me, I love that song. The way the drummer [Les Warner] approaches it... it’s like, you know exactly what’s coming, there’s only one fill in it that’s unexpected and then you listen to it twice and you know when it’s coming. But every time the chord changes, he pushes so that he comes in slightly before the bar. And that’s actually brilliant. That’s how all rock drummers should approach rock drumming. It’s a masterclass."