"I’ve got a weird story about when I first heard “Good Vibrations”. I was really scared of going to the dentist and my Mum had made me this appointment. I was literally terrified, we were sitting in the waiting room, there was a radio and “Good Vibrations” came on. Then they called my name to go into the dentist and I was still really scared, but at the same time this beautiful thing was coming out of the speakers “When I went in, they had the radio on in there as well. It was absolutely mad and my emotions were on edge, but I just couldn’t get over hearing that song. I don’t know if it was because I was in that situation and really hyped up emotionally, but every time I hear that song I remember that feeling. “It really stuck with me and obviously when I hear it now, it’s such a brilliant record, but it’s great that you can hear something that brilliant when you’re sitting in a waiting room, in a place where you’d hardly expect to have a musical revelation. “It’s funny how you used to listen to the radio more back in those days. I wouldn’t have had the ready cash to go out and buy “Good Vibrations”, so I’d just listen to the radio until it came on. People did that more, you’d have little transistor radios everywhere and you’d be waiting for your favourite music to come on, and when something came on you loved you’d turn it up"

"It's hard to describe the Ledge. He was discovered on The Gong Show many years ago in America. He basically just shouts and screams. He's a cowboy. He was recording in the 1970s but he's still going now. This is his latest compilation. I met him a couple of months ago when I was on my American tour. Bowie's a big fan too. He got the idea for the name Ziggy Stardust from the Ledge and he covered 'I Took a Trip (On a Gemini Spaceship)' on one of his albums [Heathen, 2002]. The Ledge is an extraordinary character. He plays the bugle during some of his tracks. If you ever see him, bring earmuffs. He's not very musical. I used to play his song 'Paralyzed' before my gigs at the Marquee in '77 just to confuse the audience and set the tone for the night. Complete pandemonium. Some of the songs he writes are… [trails off, lost for words] He's obsessed with Nasa and space flights, which I'm into too. I loved the space missions. The visuals and the way they got there. It's science fact. They were like cowboys in space. But The Ledge took it one step further. I'd be quite interested to see what other people think if they check him out. He's not to everybody's taste. The album is an anthology of tracks like 'My Underwear Froze to the Clothesline' and 'Standing in a Trashcan'. It's all good stuff. The names refer to Fergie [Duchess of York], Raquel Welch and Bowie. They're all fans of the Ledge. [laughs]"

"Ever since I’d been aware of Mr Meat I’d not been a fan at all. I thought he was bombastic, loud, churlish, arrogant – there was nothing about him that appealed to me, including his overtly showbizzy operatic voice. I’d never been a fan, until I was desperate for a track for some radio show I was doing where I needed to find an example of storytelling. I was looking for examples of people who told authentic observational tales, and I was stuck. Then my wife called to me from the other side of the office saying, ""life is a lemon and I want my money back”. I said I was terribly sorry to hear this, and she said, “no, the Meat Loaf song, ‘Life Is A Lemon (And I Want My Money Back)’,” although Jim Steinman actually wrote the song. So I found the song and became, if not a Meat Loaf addict, at least someone who had established a degree of reverence for both Meat Loaf at his best and the lyrical and musical writing of Jim Steinman. I think it’s a great song, and it just happens to be on this album. I’m not saying I enjoy the whole album or most of Meat Loaf’s work, but that is a very good track. As soon as I heard it I told my wife, “damn, I wish I’d written that,” which is probably the biggest compliment anyone in my position can pay to somebody else. In fact, I think that should be the epitaph on my gravestone."

"Number five — this is a tough one. I think the one I would like to say, though, is one — when I was a kid, this is the one that I watched all the time. I had it on VHS tape and probably wore the tape out – I know just about every line from the movie. I don’t know why I loved it so much, but the movie Oliver. The musical version. The Lionel Bart one. Ron Moody was the guy that played Fagin. Growing up, we never went to the movies. I grew up in a pretty rural town in Alabama, and we just never went, and so our big excitement for the weekend would be to go to the video store and… We also didn’t have a VCR, but you could, back in the day, rent a VCR. So, we would rent a VCR, and for some reason, we owned the movie. We owned two movies; we owned Oliver and we owned The Wiz. Whenever we would rent the VCR, we would watch the movies that we rented, but then, because we had the VCR, we’d always end up playing Oliver and The Wiz again. I think that’s probably why I fell in love with it. And then, ironically, it wound up being the first play that I ever did in community theatre. Although I’m [also] obsessed with The Wiz. It terrified me, as a kid. That was gonna be the other one I was gonna say. It was either Oliver or The Wiz, but The Wiz is just amazing."

"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."

"I blame this movie for starting me smoking again when I was in film school in the eighties. After becoming so smitten with all that Anna Karina embodies, I decided to wear blue tights with red skirts and smoke, constantly. Needless to say it did not turn me into Anna Karina—my tights were the wrong shade of blue, and I was hacking like an old granny at the Santa Anita racetrack. Still, I loved the film, wildly, and love her in it. What is so gorgeous about this DVD is, firstly, Anna herself, and nextly, the color is like powdered paint, soft yet vibrant—not just the gorgeousness of everything Karina wears but also the murals on the walls of the strip club where she works, the jukebox from which Charles Aznavour sings. The exteriors, often shot from high angles on rooftops, have the feel and texture of what Paris must have been at that moment. I saw in the booklet that this film was very special for Jean-Luc Godard and Karina. They were in love, they wed, she was pregnant with their baby, and you can feel the exuberance of the romance in this movie. It’s absolutely exhilarating to me, and also incredibly funny. The other amazing feature on the DVD is a short documentary on Anna Karina made in 1966, clearly to promote Anna, the musical Serge Gainsbourg wrote for her. Serge closes the short, talking in the most brazenly sensual, big, bold close-up about Anna’s humor, her voice, and her sex appeal . . . It’s scrumptious!"