"I first heard this one in 2000, or maybe 2001. My girlfriend at the time, Eleanor, had a Bo Diddley compilation that I think she got from her brother. I was grown by then so it wasn’t like I was listening to Bo in the crib, you know? But I came around to it. ""For a long time, I wasn’t a fan of the blues, because my limited understanding of it was cover bands on Sixth Street here in Austin - that version of the genre was just white guys trying to imitate Stevie Ray Vaughan. I think Bo transcended blues though. There’s so much more going on; there’s pop elements, there’s pure rock and roll elements. ""What I love about him the most is that he’s all about the maracas. That’s something that I’ve snagged, for sure, they’re the coolest percussion instrument. He went on The Ed Sullivan Show with a four-piece band, and one of them was just there to play maracas - that’s how essential it was to the sound. On this song, Jerome himself is the maraca player and he’s singing the response vocal - singing his own name. I love that."

"This was a record I got in my youth; I was really, really young. My sister had previously turned me on to a lot of different music but this was the beginning of my own branching out. I was starting to get my own identity. I had gotten a few weird records of my own and one of them was KISS's Hotter Than Hell and this one came shortly afterwards. What a lot of people missed with Bowie was that he really knew how to jam on an acoustic. They were great pop rock songs but were mostly played on an acoustic. Of course he had a great lead guitar player in Mick Ronson and when you can mix that up with acoustic playing, then you've got something really cool. I have learned some of his songs and it may not be that the chord progressions are unusual, as some people say, but it's the exotic chord choices that make the music weird. Some of those chords always make me think of a dog when he turns his head sideways and looks at you as if to say, ""Are you going to eat that?"

"The ‘60s things we’ve discussed were a really big influence on me - it almost seemed like an early dream - but then I got into the Bowie, glam rock thing, which was my first choice of things in a way. That led me into New York punk rock and that’s the bit that made me pick up the guitar. I’d played the guitar a bit, but along with Television, Talking Heads made me want to be in a band and that whole scene inspired me much more than English punk rock. That time very much felt like a new chapter - ‘out with the old, and in with the new’ - and I guess that’s what punk rock was, but I thought a lot of the English punk bands were a bit crap. There were a few good ones and a lot of people talk about The Clash and The Pistols, but for me it was Patti Smith, Talking Heads, Blondie, MC5, New York Dolls and Iggy Pop. I loved all that stuff and it somehow seemed to fit with glam rock, with Bowie, Roxy Music and Marc Bolan and led me into Talking Heads and that whole thing. When I was an unemployed kid I’d get the bus into town, wander around and meet loads of people who wanted to form bands. There weren’t many people into The Velvet Underground back then, which I was at the time and I was a bit of a misfit in many ways. Matthew Street in Liverpool was a run-down area of empty warehouses then and there was nothing much there, but I met a lot of likeminded people around a warehouse called The Liverpool School of Music, Dream, Art and Pun and that was where I first met a lot of the guys who ended up in my first band. Opposite to that there was a record shop called Probe, a tea rooms and a club called Eric’s, and they became the centre of my everyday existence. Eric’s was set up by a guy called Roger Eagle who had been in Manchester. He was a Northern Soul DJ and a music aficionado and was heavily involved in the scene. Although those bands weren’t mainstream at that point, I got to see them all at Eric’s, which was brilliant. We got let into the gigs for free in return for helping them to carry amps and I got to chat to all of the bands that I loved at the time. As a song, “Psycho Killer” really stood out. It was very compelling and there was the whole idea of how David Byrne looked like he was a college professor or something, he was so awkward and gangly, but he had brilliant words. I remember thinking at the time ‘He’s not singing about the usual things, how are these words in a song? How do you do this?!’"