"Jonathan Cott is somebody we all know in our circle to be a quiet genius. Rolling Stone asked him to interview us a few times. This book is a collection of those interviews. Nothing more. Reading it, I thought “Wow, we weren’t bad at all.” Because most writers wanted to sensationalize us, thinking that if they didn’t do that, it might be boring – and nobody would buy the book! So their ‘interviews’ usually came out nothing like what we were like. I have never recommended any books about John and Yoko. But this book made me choke up. I heard John in my ears and felt him in my heart. This is a good book for Lennon fans. And I.. Well, I come out as the second banana (okay, okay!) You will get an inkling of two people in love, sometimes making daring remarks, yet not forgetting to protect each other in the interviews. In fact, this is really the way we were, folks! Have a good read."

"This song was a sonic influence on the record. The vocal sitting on top of things that aren't a conventional band, with some electronic instruments, some keyboards and some beats. The voice is still the main focus, but there's stuff happening around it that isn’t conventional. It was definitely an inspiration to some of the songs on this record; it was like a sonic headspace. “I’ve been a fan of Arthur Russell for a long time. I don't remember who showed me him but maybe it was on a highschool mixtape. Sometimes you just hear somebody; you can tell that it's unique, it's interesting and you want to know more about it. “With 'Nothing Sacred / All Things Wild' for example, which is the third song on Oh My God, I first tried it with an acoustic guitar and it wasn't really working, but then when we used just an organ and my vocal and that seemed to really work. Something like that would be really influenced by something like Arthur Russell."

"I think this song is fun and sort of ridiculous, it's bombastic and big. There's so much reverb on ‘True Love Leaves No Traces’, it's crazy. He’s on the record cover with the women and he called it Death of a Ladies' Man! It's so beautiful and it's very well written, but it's kind of through this filter that you can't help but just kind of laugh loud. “There’s that song called ‘Memories’ where he sings “Your naked body...” and it’s just ridiculous; it's playful and fun in a way that only Leonard Cohen really knew how to be. If you listen to some of his interviews he's such a poetic man and he knows exactly how to say whatever he wants to say. Sometimes he chooses to say funny things and that record is kind of like that to me. “When you discover albums like this, you're like, 'There's actually really great songs in here, the production is insane, but what he's saying is really cool.' He was in his fifties at that point; he was drinking tea"

"This whole album Live Through This is probably my favourite record of all time, I feel so empowered by it. I love Courtney Love, she’s a very unique, kind of controversial character who’s very outspoken, who does wild, weird things and has that guttural voice. And it’s still pop, the melodies are very singable. “It got me through a horrible break up. I listened to the album on repeat and I was ‘I can get through this, because Courtney Love has gotten through some crazy shit.’ I was angry for a lot of reasons, relationship stuff, music industry stuff, and it became my armour or something. ‘Violet’ was the song on that record that first made me go ‘Whoa.’ “Sometimes I think ‘Miss World’ is my favourite but ‘Violet’ broke down the door of how to be a screaming woman, I learnt to scream and sing differently from that. She opened up that world of ‘fuck off everyone and fuck what anyone thinks of you, I don’t care.’"