"That came out in 1988 when Ride was starting to happen. Mark and I had gone to art school, we’d met Steve, met Loz and - as a band - we got into a lot of American stuff like Dinosaur Jr., Screaming Trees and Sonic Youth. “Sonic Youth were on a real run of great albums there with EVOL and Sister but Daydream Nation was their peak and their sort of White Album for me. It changed my life and my playing with the open tunings, theguitar abuse with screwdrivers and slides, the long jams, the headspace and just the whole sprawl of it. It was like the Pete Townshend thing but taken a few steps further.”"

"This is about what a music student who really wants to be great has to sacrifice to pursue greatness. It reminded me a little of my own experience at university, and how there’s such a difference between studying music, which is quite sterile, and then actually going out and doing it. You have to unlearn everything and just try to be honest, using your instrument to speak in a way that people can understand. Andrew’s (Miles Teller) relationship with his music teacher in the film is very extreme, but I had music teachers at school who I felt really passionate about and who I wanted to get better for, so they would believe in me."

"Eddie Kramer once came up to me and told me something. I don't know if he was pulling my chain or not. He said the picture on the back wasn't even from a KISS concert, it was from a Joan Baez concert or something like that. He also said that that record wasn't really live and that shattered my dreams. For me, as a lead guitar player when I was getting into KISS in high school, I would draw Gene [Simmons]'s face all the time. But when I thought about who I was, I was Ace [Frehley]. I was that guy. I loved those songs like 'Black Diamond', 'Strutter' and 'Parasite'."