"I got this when we were already started, it was when I raided the album closet of Elektra. It's one of the albums where it was, "Yeah, I gotta have this one". Tom Verlaine and Richard Lloyd traded off rhythm and lead, it'd be like their version of 'Dueling Banjos'! They took turns and there's all these different elements to it. That probably seeped in to [his and Black Francis' playing] on 'Monkey Gone To Heaven' through osmosis. We didn't mean it and it was just lucky. We just figure stuff out. Charles [Michael Kittridge Thompson IV, aka Black Francis] just leaves me alone when I'm doing my guitars. He would say "'Pixify' it", it's when the Pixies really become the Pixies. I'm just quoting him! It's kind of true in a little way. Of course it would be, that's the job, that's a lead guitarist's job, and Charles' job is to make Pixies songs and all that stuff. The guitar happens to be front and centre of the mix. They would even say it, "Now it's Joey's turn", and Charles would say: "Ah, now it's the Pixies.""

"At this point I'm already in Suicidal Tendencies and I'm walking around school listening to Korn and Suicidal. I always had my headphones on and I had long hair, I kind of looked like a girl. I remember my friend called Carla, she gave me her copy of Evil Empire. It was really dope, it was one of the coolest moments ever, because she gave me a copy of her CD and then she gave me a kiss literally, and she said, 'this is yours.' I remember putting it in my CD player in my car and I've never sonically heard anything like that in my entire life. That shit blew my fucking mind. I didn't know what the hell to do with myself. I was like, 'who the fuck plays an instrument like this? What the hell is this?' Tom Morello's guitar lines were ridiculous. To this day, it's still ridiculous. If Jimi Hendrix were alive he would be like, 'what the hell is Tom Morello drinking!?' Then on top of that, add the part where they're from Los Angeles; it's a bit of a prideful moment for me. I don't ever have these moments where I'm like, 'Yeah, they from LA', but Rage Against The Machine, I felt like it was me. This is again identity; who this is and what this is – this is the sound of where I come from, this is how we sound. Then you mix Suicidal Tendencies in there, and I'm touring at this age already, so this was this made me want to play harder and more aggressive and made me want to exude more energy and play with power. That's where I learned that, and it moulded my years in Suicidal Tendencies. So Evil Empire, if I put it on in an Uber everybody's going deaf. It's Rage Against The Machine: I don't care – it's still too good. It's still too fucking good. They're getting ready to go back on tour this year. I'm gonna be the guy in the front row with the mouth guard and boxing gloves. Rage Against the Machine changed my life and will change yours on arrival."

"I’ve chosen this because it was such an amazing thing to happen. It sounds really good and it was such a brand new kind of sound. It really was! Not just because me and George [Harrison] produced it but it was the actual thing of it existing even. It came about as a whim when I was working with George on Cloud Nine, and he said to me one night after we finished work and we were having a couple of bevies, he said, ""you know what? Me and you should have a group."" And I said, ""well, that’s a good idea. Who would we have in it?"" And he said, ""oh, Bob Dylan."" And I said, ""oh, Bob Dylan, yeah. How about Roy Orbison?"" And I thought we were joking and he says, ""yeah, OK. Roy’d be great."" And then we both said ""Tom Petty"". We both loved Tom and we’d met him a couple of times. Anyway, everybody wanted to join so that was how the Wilburys came about. And so we went to LA, recorded ‘Handle With Care’, at first as a bonus track for George’s single off Cloud Nine, but when [label boss] Mo Ostin heard it he said, ""you can’t do that! This is the first track off your new group!"" and we all went, ""oh yeah! That’s a good idea."" ‘Cause we had recorded it in Bob Dylan’s garage, which is pretty amazing. We had a barbeque in his back garden and after that we wrote the words to ‘Handle With Care’, finished the words and George had got the chorus but he hasn’t got the verses so I wrote them at dinner time, sang them in the evening and it was finished. We had to mix it at George’s house later. That’s why it’s interesting to me, how it came about. The rest of the songs we did in Dave Stewart’s studio and they were all instant songs. Each song only took a day. We gave ourselves one day to write a song so we did ten days and ten songs. I did have to pinch myself! I got used to it in the end and of course we did another album after Roy had passed but it was a marvellous time and that’s why I chose it."