"We saw their show a couple of weeks back, and of course I love the Black Moth Super Rainbow stuff, and Tobacco too. But I have to say when I was at the show there was a lot of new music he played and I was like 'Fuck, that's cool'. And then he gave me the new record and I discovered that a lot of what they played is on that, so to me it's the best that they've, or he's, done. He does the same song, over and over. He's working in the same colour palette every time, and he knows it, and he knows he's trapped in it, and I know it too. And it's rejuvenating. Even though you've heard these sounds he does a lot, it still comes back at you. Very effective. It's very evocative. He uses all these reverbs and echoes and distortions and it doesn't become music to you, it becomes an atmosphere, a mood. That's what a lot of this music I've talked about does: you don't think it's about drugs, you don't think it's about guitar playing, it's about a world that's created in your mind as these sounds are playing. It's fantastic."

"This is a weird one. That was in my parent's record collection. They had a few records, but that was one that we would listen to a lot as kids. It's very appealing to children. It's kind of like a musical Monty Python, but a lot better in my opinion! They had this really stupid, silly, strange music that was a lot better than it should have been. You often get that when a comedian makes music, you can sort of tell that actually the music underneath is really good. Lots of their humour is derived from the fact that the music is played really badly, and it was sort of shit and sort of funny! That source of amusement has followed me my whole life. I'm much happier trawling YouTube for awful music than I am looking for the hottest new good band. I almost spend more time listening to awful music. Not just because I find it funny but because I find things in it that a professional would never think of, and that is sometimes all you want to hear, something that you've never heard before. I think a lot of humour is relayed in my music directly from the Bonzos."

"I think that tune is such a perfectly crafted piece of music. The funny thing is there's two mixes. There's the Jamaican mix, and the Jamaican mix is tough but I do like the other mix too. I got to work with Tony Platt who was like the engineer at a lot of those sessions and he was telling me all sorts of stories. And then what the song was about, when he was living in London and he was hanging around in Soho. It makes so much sense now because when I was really playing this a lot was when I was spending a lot of time in Soho, going to Ronnie Scott's, learning my craft, learning to play drums and jazz, going to clubs, hanging out ‘til 4am. So I felt it, I could picture him being there like ‘Rahtid…’ Everyone's been out on the night bus and seen something and think did that just happen? So I've always had an affinity with that particular track, sonically and content wise. I think people don't often talk about that side of Bob, and they’ve made him out to be this ganja-smoking, peace-loving guy, that’s not really what he's about. He's very political and does a lot of social commentary."