"Many of our generation of white, British, middle-class musicians who went to art college all knew about Mose Allison from ‘Parchman Farm’ and one or two other songs in the early Sixties that had been done by British R&B bands. So I knew a little bit about him but I suppose like many people, assumed he was a black guy. He turned out to be a Mississippi white guy with pasty legs and an obvious understanding of jazz and its traditions. He did most of his work in a piano trio with a bass player and a drummer, and he sang in this very laconic and down-home way. I wouldn’t say his songs never touched on romantic lyrics but they were often about stuff. About real life – that’s what gave him credibility and a high level of authenticity, because you knew this wasn’t a guy making it up, this was a guy who had lived the things he sang about. I, like many people of my generation, was struck by his work. The Who recorded at least one of his songs. I expect today there are a few younger musicians who will know about Mose Allison in the same way they will know about Roy Harper."

"That's pretty obvious. When I got turned onto it, I was like, "Okay, I'll pick up the guitar!" My favourite parts of it are the sonics. It's nothing like anyone's heard. Pete Townshend was like, "Alright, I quit the guitar." [laughs] That instrumental, 'Third Stone From The Sun', boy, how good is that? There's a video of Stevie Ray Vaughan - have you seen that? He did it fucking note-for-note! It's incredible! It's like, "Who the fuck is this guy?!" I just love it. I would say around 12 years old when I bought it. Then, I loved the poppier ones, like 'Fire' and obviously 'Purple Haze', had to learn that riff. I figured out what he was playing through a painful process. I'm not as fluid on guitar as my little brother, who can hear it once and just do it. That song has a chord, an E7#9 - I use it a lot! I use it on 'Tame': it's the one where everyone's hitting three chords and I'm hitting that chord and that's all I'm hitting. It's one of those chords that's either a question mark or an answer. It's very neutral, but more interesting than a major chord."

"My first memory was being in the movie theater — the strongest one up to this date, 60 or 48 years later. I still remember the shock of being transported into another dimension. Also, going through the gate of light like if I’d taken a huge dose of acid, like discovering other dimensions. But when you discover dimensions in a safe context as a movie theater, it looks even better. When I came out from that movie, I felt someone had injected me with something in the brain. I was obsessed with going to see the end of 2001. I liked the ape scenes, I like the beginning, but I just wanted to go again and again to see the movie, to go through the Stargate. And I’m happy, I met lately Douglas Trumbull [who did the visual effects on 2001], and we discussed Love, and he’s seen Enter the Void. For me, Douglas Trumbull was one of the very best partners in crime in this masterpiece, and just meeting him for me was just like discovering what was happening behind the curtain of the movie. This is the guy who like opened my mind when I was six years old."