When all's said and done, I wish them well. I wasn't just the one that ranted a bit in interviews and thought he was great. I thought the group were great.

When the [Mystical Shit] CD first started to take shape, I was very unsure about what was happening—I wasn't sure I liked what these guys were coming up with. I missed Dogbowl's melodies, and I didn't like that it was loud. But other people seemed to like it a lot, and at that time, that was important to me, so I went with it. As time went by, I started to appreciate the oddity of me in a rock band. Unfortunately, I didn't really embrace the idea fully until that band had broken up. Nowadays, I can look back and think it was fun and funny that I was in a rock band, but at the time, it bothered me a lot and I complained about it all the time, but I lacked the moral character to do anything about it.

Contemporary poets are skeptical and suspicious even, or perhaps especially, about themselves. They publicly confess to being poets only reluctantly, as if they were a little ashamed of it. But in our clamorous times it's much easier to acknowledge your faults, at least if they're attractively packaged, than to recognize your own merits, since these are hidden deeper and you never quite believe in them yourself.

I am hard to disgust, but a pretentious poet can do it

That day, I began to be incredulous. Or, rather, I regretted having been credulous. I regretted having allowed myself to be borne away by a passion of the mind. Such is credulity.

You know, the actual punk music, I didn't care for at all. I thought it was all rubbish, really. It was the attitude, the way that things were being shaken up, that excited me more. I still liked people who were good, you know? Who could actually play. Even though The Damned were a punk group, they played great. As did Elvis, and as did Ian. They were the ones who interested me. Not some of those daft punkers, especially the ones who had people who were actually pretty good musicians sort of pretending to play badly. That was just so stupid, and missed the point completely, I thought. So it was the people who were true to themselves, I think, that were the exciting ones.

I listen back to some of Porcupine now and... well, not blush exactly, we were great and all that... but we could have been just anyone, you know?

The biggest thing has been realizing how much people really do love the early Sabbath music. People have said it in the past but I've never really believed them before. I remember years ago when Metallica opened up for me, I went backstage and they were playing old Black Sabbath albums and I thought they were taking the piss! They said, 'No, we really love Sabbath.' I couldn't see that at the time--because towards the end of my time with Sabbath 20 years ago I thought what we were doing was boring and stupid, because we were boring and stupid, totally sick of what we were doing and totally out of our brains with drink or drugs when we were playing it.

Ah, those were the days. David Bowie, Status Quo, The Beatles ... no end of artists I could say I enjoyed in order to sound clever and pretentious. (The Dark Side of Beatles Songs)

I think it is considered bad to be clever, because I think people usually assume that a clever person or a clever band doesn't have substance, doesn't really care about anything. People want music that matters, that believes in something, I think, whether it expresses anger or despair or love. People want to believe that their artists are portraying emotions that they really feel. And I think that's true of Patsy Cline, Johnny Rotten, whoever you want to name. If you believe the artist, you're going to go for it.