"The second side of this record has three songs that I think are some of the greatest sung by anyone. 'On The Beach', 'Motion Pictures' and 'Ambulance Blues'. They are my favourite Neil Young songs, and they are very introspective and miserable, but they have something about them that makes me want to return to them again and again. I don't find them self-indulgent or too bleak to listen to. It's a deep record and I get a huge amount from listening to it. There's something about Neil Young, he can just do so many different styles, but I guess he's most well known for the After The Goldrush or Harvest records. This is darker, but there's more to get lost in, for me. It sounds a bit all over the place. The first side of it, the tracks are produced by different people over different sessions. Neil Young was making an album like that around this time where he was cobbling them together; he'd make an album then decide not to put it out, and then he'd take tracks from one and then put them on another. Despite those different sounds, it works as a whole record. Neil Young was the first songwriter whose songs I learned to play on the guitar."

"This song was a whole other cool factor for me. There was something so cool about it - the sound of it, the synthesiser and what he was singing about. It made such an impression on me, and I’m in love with Benjamin Orr’s vocal performance, it’s incredible. “A lot of these songs are based on vocal performances and guys that I idolise as having a vocal quality, but I also loved the guitar solo. It was the first solo I ever learned to play and it’s a pretty bitchin’, advanced, badass solo. It’s one of the best, so I was pretty stoked about it, but don’t ask me to play it today! I also learnt a bunch of Squeeze solos, Glenn Tilbrook and Chris Difford are two more of my favourites and the solo on ""Pulling Mussels (from the Shell)” is unbelievable. “With “Just What I Needed” it’s the solo because I’m a guitar player, the sound of it because I’m an engineer and producer and the lyrics because I’m a songwriter. People who aren’t musicians might be surprised by these songs, but they’ve had a big effect on me. I picked these songs based on being pivotal and this was one of those songs for many reasons. I’m still trying to write that song."

"Tom Waits really brings a lot of showbiz into his records. It’s in there in the actual songwriting. He knows how to strip things down and get to some skeletal place that’s really strong. He’s trying to be true to his Jazz and his Blues. That is to be admired. There’s a lot of the textures you don’t hear so much. All that vocabulary is really seductive. I think that he’s a good songwriter whatever record you talk about of his. It’s not because there’s some fucking guy playing a saw. It’s like the Bruce Springsteen thing. It’s stripped down, universal, folky bluesy stuff. He’s trying to say: “You guys think you can change things overnight. Forget the new thing. What about Django Reinhart? Son House?” It’s like the Grand Duchy thing. People get obsessed with our production like, “What’s the new story?” It’s admirable when people say: “What about 1949, man?!” At first, I heard a cool White Stripes record and thought: “Who do you think you are, Robert Johnson?” And I get jealous. Fucking A! man. It’s like primal Led Zeppelin or something. But at the end of the day, I always end up respecting Jack White. [Black does an impression of the 'Seven Nation Army' riff.] Jack White has some believability."