"We've been playing The Soft Bulletin live, and you have to consider that chain of events where you make a record but then you have to become the people who play it in front of people. When I saw The Who play live in 1977, that was really a moment that changed music for me; it was no longer music, it was like a deeply religious power to me. They were still doing these songs from Tommy, in a sense like they were on Live At Leeds, where it was just utter chaos, [and] utter release. And even though people would say that at the time that I saw them they weren't at the peak of their powers, they were powerful enough on this night. That was a life-changing, fucking devastating couple of hours of music. I walked out there like I'd changed heads. And it's like that on Live At Leeds. They start to discover that psychic energy: they're feeding off each other's energy, looking at each other, listening to each other, letting that be the reason the songs sounded the way they did. And that's hard to do, to be an intuitive musician - you have to surrender and say yeah, it's like this, and that's a motherfucker, what if it sucks? You have to trust that you have it in you. So when I hear Live At Leeds I'm always reminded that these are young guys, they didn't know that they were playing at their peak, they were just playing what they felt like playing. And the way that the volume goes up, and the way they even lose themselves - the playing is so intense that they even lose the tempo - but they leave that in the record and that's what's music's about. It's not just something that's kept in time, it's people making a racket. Fuck, sometimes it's out of control. There's moments like that on 'Magic Bus' or 'My Generation', moments in those jams that I think are some of the greatest moments of that type of rock & roll. There's that invisible energy guiding them through this. In 1970 you probably had not heard music like that ever.]"

"This is a project from Ben Wallers and Alastair Mackinven from Country Teasers. We moved in similar circles in the mid-90s. I saw them do the whole of this at the Moth Club earlier this year. You could think 'oh what a funny idea to cover the whole of Pink Floyd's The Wall', but they actually did it really well. I used to be a Pink Floyd fan, and one of the first albums I bought was Dark Side Of The Moon, but The Wall is where I parted company with them, I thought it was just a self-indulgent mess. So I was amazed to go and see that they'd actually made it palatable, they'd done something interesting with it. I know it's not coming from a take the piss point of view, Ben's got an actual affection for that record, and they'd really thought it out. The Wall is one of the most indulgent, over-produced records ever done, and so the idea of two guys on a stage at the Moth Club doing it is like 'how the fuck are you going to do that? Where's the choir, where's all this?' But it worked, it was really good. I preferred their version of The Wall to the Floyd one. I remember going to see the film version of The Wall, and Bob Geldof played the main character, and it was so rubbish and painful, the worst kind of that rock star moaning about nothing in particular. There's something in that record to do with a performer's relationship with an audience that's interesting - there is something strange about getting up on a stage and performing in front of people. In Ben's live performances as The Country Teasers or The Rebel, sometimes people think he's trying to wind the audience up or whatever, but it's always important that the audience is there and you're never allowed to be a passive spectator. I don't know if that's why he finds [this album] an interesting thing to deal with, but you could tell that there's a reason for it, it wasn't just 'let's try and do something ridiculous'. "