Some that wouldn't fit, some that were too good only to use once...

Andy Summers on 'Synchronicity': "We had this section for 'Synchronicity' which we referred to as The Loch. I went in and detuned my guitar synth to C sharp and it produced a great wash of sound, lovely. And there was an acoustic on top, a few cymbals and an oboe, really serene. We were going to have it at the end of 'Synchronicity I' — it was supposed to be the Loch Ness Monster — and then it would go into 'Synchronicity II'. But we couldn't really get it to work. Miles (Copeland) didn't like it... it was too psychedelic for him."

Nick Heyward asked if the orchestra got off on playing the arrangement to 'Day It Rained Forever': "Course they didn't. It's Andrew Powell conducting that does it. If I wanted to go in the studio and wind them up I'd have to go round 66 people — a few of them would probably say sod off. Don't tread on me Hush Puppies, mate!"

...if your band line up at the front of the stage and soak the audience by blowing raspberries for ten minutes, you would gain little other than a punk following. Should you create the same sounds by FM synthesis while showering the audience with champagne, you may well find yourself with an Arts Council grant. Honeybone puts sound sampling in its place.

"It's coming out the walls," said Geoff Emerick when producing a Nick Heyward live track at Abbey Road. "I don't have to produce it."

Steve Nieve on the wonder of the Emulator: "On 'Watching The Detectives' there's this line about 'dragging the lake', and at that point a load of frogs fly out."

"Some time later I did an arrangement for Andy Hill for Bucks Fizz and he said to me 'how many strings did ABC use?' — oh, about 30 — 'OK, we'll have 40'." Anne Dudley recounts oneupstringship.

...there are only three types of over the hill rock musicians: those who still do it, those who don't do it, and those who are so untogether they're called, for the sake of a label — jazz musicians. Jenkins attempts to offend everyone (again).

Sara Gang-of-two-and-a-half Lee says it all for bassists everywhere: "I like bass to work with the drums, a simple, screwed-down rhythm, it shouldn't be flash. I'd play guitar if I was into that." (The Bootsy Collins tickets are in the post, Sara.)

Glenn Gregory on the recording of 'Fascist Groove Thang': "We were using the same studio as the League, their studio in West Bar. They were working days, 10 till 10, and then we'd come in at 10 and work nights. It was just like clocking on and clocking off."