"Last summer we were playing some versions of Dark Side of the Moon that were more like our versions, that we did with my nephew [Star Death and White Dwarves] and Henry Rollins and Peaches. This summer we're playing another version that has some of the Wizard of Oz themes and ideas running through it, so that'll be a lot of fun. It's just great emotional music. Judy Garland, when they picked her to be the singer, and the embodiment of that longing... she's so perfect for that Dorothy character. There are bits on the Wizard of Oz soundtrack CD that I have - and it's an old CD, maybe 15, 20 years old - when you take the movie away and just hear her singing, and there's a song where she cries. I've put it on to a room full of people and they tear up, it's so real. There's not many pieces of music that can do that. She's so perfect, but it's not just the singing - she's an actor. She's on camera at the same time, she's wearing this ridiculous costume, there's fake backdrops behind her, there's a lot of elements that have gone into this thing, and so for her to be so pure, so potent: it's uncanny. That's why that movie is so good. There's a lot of fantastical, ridiculous, musical movies out there that, to me, are nauseating. Wizard of Oz should be one of those - out-dated, overdone, with horrible music – but it rises above what it's made of. It's unbelievable."

"We're keen on the White Album because of the way we're making a lot of this music now. I feel like they had a lot of music, and they weren't that worried about the very nuanced production they had delved into with George Martin. It's one of those records that's kind of sloppy, recorded in strange rooms. It has this weirder, drug-damaged vibe about it. For me, I think that The Beatles could not be any greater of a group without a song like 'Revolution 9'. I wouldn't have embraced them as much. Even though I was very young I always thought 'Revolution 9' was just as valid, just as listenable, just as perfect as 'Strawberry Fields Forever', something that has a lot of structure, melody, lyrics. I didn't realise until later how retarded that was. When we started writing songs and learning how to produce records we started to see what a strange, disturbing collage it is. Luckily, that was what I built my world of creating music on: thinking anything that you wanted to do was possible. They'll have these experimental moments, and even Paul McCartney, who's perhaps not as artistically experimental, there's that thing, [sings] "Can you take me back where I came from" [the fragment that follows 'Cry Baby Cry']. [It's] Thirty seconds of him not really having a song. Listening to that when I was young, somehow, is the cornerstone to me remembering that anything's possible - that you don't have to worry about thinking everything through before you do it."