"I saw this movie when it first came out and at that point I’d never see a horror film, believe it or not! I had a girlfriend at the time, she was an anthropology student, and she said, ‘I heard there’s this new film called Night of the Living Dead, c’mon lets go.’ Eventually we left and when we got there the theatre was buzzing before the film even started. And then it starts, and we’re in the cemetery with the brothers and sisters bickering and then the zombie lurches towards them! Some people are screaming, some were saying the lines of the characters and suddenly I was swept into it and jumping and laughing and afraid, and I realised that this guy Romero was incredible. “It also made me realise that with a genre film, as long as it scared you, you could say anything; about politics, about psychology. It made me realise as well that fear is one of the primary thresholds you experience things through. Fear of anything – even sex – is scary! The first time you do it you’re like, ‘Oh my God, what am I doing? Am I going to fail?’ And you get through it and you realise it’s a wonderful thing. That’s what’s great about the horror genre is that you’re getting a load of people together in the cinema at the same place and the same time, having them all experience extreme fear, and come out alive at the end. It’s an uplifting experience and there’s a sense of elation."

"I have seven older brothers and sisters so there was always a bunch of records around the house. One of my brothers had a record by The Sonics, a Seattle sixties garage rock band, and to a kid who was, like, eight years old, The Sonics really spoke. It was very trashy and you could almost imagine yourself playing those songs - there was a song called 'The Witch' that really spoke to a boy that age and captured his imagination. I was probably about 13 when I heard Raw Power and it reminded me of that, but had something else, it was a bit rattier. I played it over and over again. I haven’t ever been able to write a song as cool as any on Raw Power but I did take that basic ethos; keep it raw and keep it real. Those formative years and the records I listened to then have influenced me to this day. We covered [the song 'Raw Power'] later on ""The Spaghetti Incident?"" [Guns N’ Roses’ 1993 cover album] , and in that era of my life – wow, I guess I’m speaking about my life in eras now – I was probably... well I had a lot of input in that record. I’m not saying I had the most influence, but I probably had more than my share. The UK Subs and the Stooges, I was really happy about some of the selections we made and it was really fun to do something like a Damned song. So we’ll move onto...."

"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."