"I remember seeing Kurt Cobain wearing a Daniel Johnston t-shirt when I was young and it looking so weird that I wanted to know what it was, but I only really got into him in 2007 when Gallows were playing in Austin, Texas, where they've got the big mural to him at SXSW. I saw the record in the store next door and fell in love with it. It was very pure; there was nothing to it, just great, genius songwriting that's full of emotion. Then I watched the documentary, The Devil And Daniel Johnston, and became a fan for life. The man is fairly tortured, but always undeniably himself. I just love musicians who are themselves, there's so much to be said for that. 'Outsider Music' is a tough term because it implies he's not welcome here, but those types of characters are beacons, they're the people that other musicians to go out and do what they to do. It's musicians like Daniel Johnston that inspire the Kurt Cobains of the world, who then inspire a generation of people to pick up a guitar. I think it's insider music."

"The Eagles are fucking bad ass. I've always been a fan of multiple voices in bands and the Eagles are another example of that. Classy musicians who fucking earned their bones through backing up other musicians. I love that documentary that they did ‘The History Of The Eagles’: the drugs, the fights, the stardom, that's just fascinating. I always really admired that band for its uniqueness and the quality of the records they made, the songwriting, the musicianship. This album and that particular track... it's like bigger than they are. Even though that's them. I mean, sometimes musicians, the song and the actual thing that gets recorded at the production, all three of those things line up at the right time and you get that magical thing, bigger than any one of you, even all of you together... it just goes a little step above. It's the whole thing: music is not about perfection, the closest you're gonna get to reaching perfection is the pursuit of trying to get there, I guess. But every once in a while, there's one song or an album that just kind of poke out, that just goes above the ceiling. That title track does that. It's a very magical song."

"I learned over the years – by meeting legitimate jazz musicians who knew Mezzrow and the people he wrote about in the book – that this memoir was filled with apocryphal stories. But it had a great impact on me because I was learning to be a jazz clarinet player, like Mezzrow, and learning to play the idiom of music that he and Bernard Wolfe wrote about. The story, while probably just a lot of junk, was compelling for me because it was about many musicians whose work I knew and admired and the ins and outs of jazz joints that I knew about and the legendary songs that were played in the legendary nightclubs. So I had a great time reading it when my own jazz passion was forming. But I know it's not a very good or even a very honest book."

"It’s interesting to me that at a time when so many American bands and acts were getting into the pop thing, across the pond you had all of these great British musicians studying the blues. What Peter Green’s version of Fleetwood Mac did with the blues was not only authentic, it was positively enchanting. They figured out a way to have a good time, but they had their own unique sound and approach. In many ways, they cast a spell on you. They transported you to wherever they wanted to take you. That’s the mark of a great band, but as blues artists, that’s the mark of musicians who have really gotten inside each note. There have been a host of fabulous players who have called Fleetwood Mac their home, but this lineup is one to be reckoned with, and Mr Wonderful just might be their finest hour."

"Quincy Jones' autobiography Q is very good. Because he's a master at music, he's one of our greatest composers and its good for him to have a book and tell the good ole days when he was with Duke Ellington, Count Basie, Sarah Vaughan and Ray Charles. The reason he got to work with so many people was because he was one of the few musicians around who could write out the arrangements. He was in everybody's session. He learned so much."

"It was a very powerfully influential piece of music because it was very advanced and futuristic in the way the arrangements are so unique, and in the way that they were breaking all kinds of rules. It was probably the template for most film music, which many musicians ended up borrowing the style of and introducing into cinematic media. So it was a very, very important piece of music. I loved it when I discovered it, especially when I found out there were little links between this and Bernstein."