"I first heard this one in 2000, or maybe 2001. My girlfriend at the time, Eleanor, had a Bo Diddley compilation that I think she got from her brother. I was grown by then so it wasn’t like I was listening to Bo in the crib, you know? But I came around to it. ""For a long time, I wasn’t a fan of the blues, because my limited understanding of it was cover bands on Sixth Street here in Austin - that version of the genre was just white guys trying to imitate Stevie Ray Vaughan. I think Bo transcended blues though. There’s so much more going on; there’s pop elements, there’s pure rock and roll elements. ""What I love about him the most is that he’s all about the maracas. That’s something that I’ve snagged, for sure, they’re the coolest percussion instrument. He went on The Ed Sullivan Show with a four-piece band, and one of them was just there to play maracas - that’s how essential it was to the sound. On this song, Jerome himself is the maraca player and he’s singing the response vocal - singing his own name. I love that."

"I grew up hearing the original Carter Family recording, my Father had it on an album compilation of their recordings. I grew up hearing that from my earliest memories and then he would play the song and sing it, sometimes on the guitar. He even wrote some other lyrics for it once for a family reunion to sing about the different branches of the family. Now, whenever I have the chance to I join in with a bluegrass jam session, which always ends every one of their jams. with playing and singing ‘Can The Circle Be Unbroken’ and even ending with everyone singing a capella, which is really a fun experience. I’ve always loved the song from when I was a little child and I still sing it and play it. It’s the only thing that would be on the list that I would ever sing and play, or at least regularly sing and play, so it’s part of my life. I really like the sentiment of it, especially the chorus. My father isn’t around anymore; he would play and sing it and my older brothers and sisters would play and sing it, so I grew up with that in the family, which is enormous for me. I feel like I’m a continuation of that."

"I think this is the first Byrds album I owned. I bought it because it had all the singles on it. When I was a kid I didn't have a lot of money so I'd probably go and buy a band's greatest hits album, just to give a taste of the band – I love singles and greatest hits albums. I love this record because every time I hear it, it's joyous, it's transcendental and it makes my spirit soar. Whenever the Beatles and Byrds released 45s, they were all in mono because they were more powerful in terms of mixes. I watched repeats of Ready Steady Go! in the mid-'80s and was entranced by performances of 'Mr Tambourine Man', and also when The Beatles covered it too. The Byrds helped us dream away the greyness and bleakness of Glasgow and the repressiveness of Thatcherist Britain. The Byrds are better than The Beatles for me. I'm more of a Stones guy myself, but The Byrds just portrayed this image of beautiful Californian transcendent sound. That run between '65 and '67 in this compilation of A-sides and B-sides is unbeatable. I almost don't want to use this word, but it's a perfect record and basically formed the foundation of Primal Scream."