"One of the first records I remember having any kind of relationship to was the soundtrack to 2001. At that point, I wasn’t allowed to put the needle on the record, but my dad would put it on, and, looking back now, I liked it ’cause it it scared me. There’s a lot of spooky stuff on there. I wanted to hear the record that was going to freak me out, and I wanted my dad in the room while it was being played. Growing up in Temple, Texas, my dad was the looser parent, the kind of guy who would wake the kids up in the morning by turning the stereo on really loud and blasting some upbeat music. In fact, the neighbor was always calling over to tell him to turn his stereo down. Later, he became a little more strict and got more religious; now he goes to mass every day. My parents split up in ’79, when I was 8. It was a pretty acrimonious break up. By then, I had a younger brother and sister, and we would go see my dad every other weekend. There was a certain voice my mom reserved only for my dad—when she would pick up the phone and use this voice, I knew it was him: “Oh hello.” There was a lot of animosity there for a long time, but as of the last couple of years, we have all shared Thanksgiving together for the first time since 1978, which has been really nice. My little brother now has a kid, so that brings everybody together."

"The film was shown at an all-nighter at the Screen On The Green at the Angel, and for teenage boys the film was great, a bit of James Dean-like rebellion… but the soundtrack, fucking hell, it’s just relentless! ‘Pressure Drop’, ‘Many Rivers To Cross’, ‘The Harder They Come’, ‘Johnny Too Bad’, on and on, every single track’s a winner. And that’s still an album I can put on, absolutely no problem, day or night. At one of our Madstocks we got Desmond Dekker and Toots (Hibbert) to come on and do ‘54-46 (Was My Number)’, and they were loving it, to the point that it’s a very hard song to end, cos it’s just a riff, so by the time we’d played it the fourteenth time, an hour and a half had gone by and they were still happily skipping around… Also, at the first Madstock, we were on the tour bus and our manager said “There’s a feller here who says he’s Prince Buster“. So we were like “Fucking hell, who knows, it might be him, let him on“, and it was! We’d got the name of our band from him, our first single was about him, we’d recorded his songs, but we’d never met him… and suddenly, at our revival in 1992, there he was! So we got him onstage to sing ‘Madness’ with us, and he was a charming man. I think for those chaps it’s a double-edged sword, because they were happy that we gave their music the oxygen of publicity, but at the same time we were making all the flippin’ dough out of it."

"Back in the late '60s and early '70s, children's records were all the rage, with stars making cameo appearances. The Little Prince was no different. It featured Richard Burton in the role of the narrator in the audiobook. It had a who's who at the time as well, with big Hollywood names such as Jonathan Winters and a whole other bunch of people. The idea was that you'd read the book and along with it, you'd hear some sort of strange synthesiser. I got it for my birthday in 1974 when I was eight years old. It had one of those effects where the moment it was on the vocoder, I was paralysed, I stopped what I was doing - this I could vividly remember and I would sit down and listen. I literally started to pound tables to turn onto side two! The whole story is read out and the idea of a concept such as narration going over an orchestration or some sort of a continuous, linear soundtrack is something that stayed with me. It gave me the momentum to later on follow on with the idea of a concept record. Certainly a lot of our music has that fairy tale aspect to it and The Little Prince would have been one of the first influences - along with one or two others - that embedded in the DNA of Mercury Rev very early on. This is also probably my favourite book and after 40-45 years it still hits me. Try as I might to go in another direction sometimes, this musical aspect still comes out of me."

"I feel like everyone has this on their list of songs, because who doesn’t remember hearing this and just being like ‘Wow, I feel so amazing right now!’ I got a tape and it was all different songs - it had Sum 41, Blink-182, Papa Roach, Fred Durst and Nirvana. ‘Smells Like Teen Spirit’ satisfied every single inch of me and it really hit every nerve. It’s the most complete pop song ever, you’re just ‘Oh my god, this is probably the best song ever written.’ “Like the Britney song, it was a perfect song for me. ‘...Baby One More Time’ and ‘Smells Like Teen Spirit’ are perfect pop songs, they’re from completely different worlds, but worlds that are important for a teenager to have a connection to. As an adult it’s still an important connection for me to have, that’s the thing with these magical songs, I feel exactly the same way when I hear ‘Smells Like Teen Spirit’ now. It’s always satisfying and I never want to turn it off. I’ve heard these songs so many times and they always feel as good. “It’s been a soundtrack to so many times and I also discovered so many of Nirvana’s albums and grew to love them as an adult in a completely different way than as a child. I’ve danced to it in clubs so many times; on tour, before a show, after a show and I’ve played it in the club before shows, so that the audience will hear it. There’s certain songs that I like to play to get people going and this is one of them."