"Changes' was a strange one, because it always felt a little bit jazzy, a touch of cabaret, so it was tough to find how to play it. For me as a drummer I went for less-is-more. It meets the minimum beat, I had to play it in a way that doesn't force the listener to have to pay attention to the beat or think about the stops. It just needed backing up, that's all it needed. I even tried putting little drum rolls on it here and there, but then listened and thought: 'Nah! It doesn't work!' It sounded like being flashy for the sake of it. Just showing off. That stops the flow of the song. So, I decided to just keep it simple. That one got a hell of a lot of plays on the radio but it didn't actually sell. It was a big disappointment, because we thought it would. It wasn't until years later that It took off. 'Changes' seemed to sum him up, because basically at that time the attitude was that we will do what we have to do to make it, whatever changes we would have to adapt to, whatever things we have to do to get attention onto the band, we would do it! So, it was kind of an anthem for the band. A statement."

"Now I’m in New York, in a band with Chris Frantz and his girlfriend, Tina [Weymouth], and we didn’t have a super-duper plan. I had ambitions to be a fine artist and show in galleries, but I was also writing songs. This club, CBGB, had opened around the corner, and there were bands like Television playing, and Patti Smith was doing poetry readings. We thought, If we learn some songs, we can play there. I had a day job as what was called a “stat man” for a company that designed Revlon counter displays. So I worked in a little dark room in the middle of this office—which meant I had a little radio in there, and I could listen to music. And nobody else would bother me. Bowie was on the radio a little bit, and he was a huge influence for a lot of people. I was aware of all the Ziggy Stardust stuff, and then him moving onto the Berlin stuff. Somewhere around this time, in the late ’70s, after we made our first record, we met Brian Eno, who had worked with him on Low, and that was very cool for us. In 1980, I went with Toni Basil to see Bowie in The Elephant Man. He was reading the collected speeches of Fidel Castro at the time, and he gave me the book and said, “You might enjoy this.” I dutifully read it. Castro could really ramble on. Really ramble on."

"I found out about Serafina through the radio show. It was right at the beginning of the Sunday Service and I was trying to be diligent and listen to all the records that I was sent, but it quickly became apparent that was never going to work and I was getting depressed that there were so many bad records. I was down in the dumps and then I put on her album Change Is Good Change Is Good and I really liked it, it made me forget the previous eight hours of boredom. I went to see her do a concert at Cafe Oto, and really enjoyed it. Again it's a bit like Bill Callahan, it's melodic and the words are good but structure-wise it goes all over the place, I'm always impressed by and a little bit jealous of people who can do that. We got to know each other a bit, I got to play on a couple of things, and when she was getting her next record together she asked if I would produce it. So I produced this record and I know it very well, but I wanted it to be in there because it's been a very important thing for me, she's now in the Jarv Is band and is very involved in the music of that. I've got the radio show to thank for us because I'd probably never have been aware of her. I discovered a lot of great music through the show and this led to a creative partnership."

"It’s virtually impossible to find their early records. This particular record – their first album – I’ve tried to play on radio shows before, but it’s difficult because the language that they use is banned on radio. They use words that were then commonplace to describe their brothers and sisters, but are now not seen in the same way. Words that were in common usage in the sixties and now are not and for very good reason. But then they carried a very different potency. The thing I love about The Last Poets is that they are very direct, they pull no punches, they’re speaking to their community in way that Gil Scott-Heron did a lot. He also wasn’t afraid to say exactly how he felt about how his community was living. And The Last Poets did that too, with rhythmical words set to a very simple beat, in this case played on congas. One of their later albums even had Jimi Hendrix on it, and Buddy Miles. But this is the rawest, just a group of voices. They were the forerunners of rap. Using voices in unison to underline phrases and to make certain phrases more forceful, and all of this to an infectious groove. That’s all of what I love about rap music and urban poetry. It became part of what Underworld assimilated in our eclectic nature. The Last Poets throw the gauntlet down. If you want to write about the urban condition, there’s your benchmark. I can’t come close."

"This was the first song where I really enjoyed some of the production stuff in it. I really love different cultures and I’m really into this kind of vibe. I really liked it when I was a kid, I heard it when I was a sixteen-year-old kid, not like four, I was a bit older. “I found all my music through CD’s, even though there were other platforms, I was just really slow. We didn’t have stuff at home like a TV or radio, so I discovered this through a CD because I really liked the cover and that’s why I bought it, an LP actually, so old-fashioned! It was the second LP I ever bought for myself. “The cover was really nice, and I just really liked it. And of course I knew about The Beatles, I knew that they were a big name, and I should listen to them and see if I like them or not. I just really realised that you can play along with things, and that’s when I became a producer.”"

"I didn’t play on that one either, and also heard it for the first time while listening to the radio. It just has an indescribable feel about it that involves a lot of yucky things from life. You can watch a movie and it will have horrible bits in it, but it will have nice bits in it too, and if you didn’t get through the horrible part of the movie, then the nice bits wouldn’t be as nice. That was one of those songs like that, where it was nice, but it was horrible as well. For me anyway! I could include more from his career later on that I really liked, of course, but certain ones just hit me as a normal member of the public, so I wasn’t going: “Oh this is a Bowie song, I better hear it,” I just heard it and it caught my attention. That just happens sometime, when something is playing in the background and then it just grabs you, while you might be doing something else."