"This goes up to the Chicago stuff. When all the Mississippi guys made it up to Chicagoland, the Chess Brothers started picking them up and made it possible for them to record some stunning material. “There’s so much good stuff here that I don’t even know where to begin. Louisiana Blues, Rollin’ And Tumblin’, Long Distance Call, I Can’t Be Satisfied – all of these recordings were turning points in that, once electricity entered the picture, bands with three and four people in them could do battle with Duke Ellington and Count Basie and 10-piece horn sections. “Muddy Waters had a very distinctive guitar tone. When he played a Gibson Les Paul goldtop, you could really identify the sound, and you knew who it was. Compared to BB or Freddy or Albert, his playing might not have been so fanciful, but his licks were stinging and ferocious. And he laid down a lot of Delta-based slide guitar, too. Just because he was in Chicago, he didn’t leave his humble beginnings behind."

"This wasn’t my introduction to folk music by any means, but it was my introduction to Irish folk music that wasn’t merely The Dubliners or The Chieftains. It was Irish music that had a bit of balls and a bit of a wayward quality that came I think from those guys knowing about rock music and, generally speaking, what was going on in the UK. You could call them the first progressive folk band. They had a good way of bringing together bits of tradition, mostly Irish traditional music, with an awareness in terms of arrangements that could only come from a knowledge of other musical forms. And of course they feature what was a growing, new instrument, a non-indigenous instrument of Irish music: the bouzouki. Not the bowl-shaped Greek bouzouki but the flat-backed bouzouki that was being made by luthiers in Britain and Ireland as a more convenient, big boy’s mandolin. The bouzouki became an important part of Irish folk music and Planxty used it to great effect."

"I guess my first favorite movie would be Chariots of Fire. I know it’s not just me because it won an Academy Award, so I know it’s pretty good. But it struck a chord with me. I think when I was younger I was very religious, and that aspect of the story appealed to me. Although not anymore, I still love it. I have a certain, I guess, fascination with that kind of period in England. Not that I know about it; I’m not a historian or anything. But just like it’s something so romantic about, you know, going to school there and in that atmosphere and that time. I mean, it was an awful time for a lot of people, but for the guys who got to go to Oxford and Cambridge. I don’t know. It’s cool. And then they go to the Olympics, and the characters are just so interesting, and winning. I mean obviously based on real people, and such fantastic acting, you know. Great direction. Art direction, and wardrobe, and all of that."

"You know, what’s touched me I think is GoodFellas… It’s a very real movie. GoodFellas is really some deep stuff. It was very good. It was believable. It just felt like Queens. I don’t know if a lot of that movie was filmed in Queens, but it felt like something that was happening in my backyard that I didn’t really know about. So it’s almost like a history lesson. The acting is so good. I’ve said that a couple of times, but that’s my truth. When he came out with the gun and beats the kid up for messing with his sister, the kid was like, “You got something to say to m–,” and before he could say the word “me,” he was beat up. That’s the scene for me. It was very real to me that guys would do that for their family. People just want to be successful in life. They all want to be happy. And some people go about it in a way that’s pretty destructive, but in that scene, you could see how much he loved his family."