There was mass hysteria in the Chess Recording Studio when I did the "Shapes of Things" solo ... they weren't expecting it, and it was just some weird mist coming from the East out of an amp.
I never really felt at home with that - the headbands, the roses, the feet, the peace sign, all that bollocks. That wasn't me at all; I felt like a fish totally out of water during the mid-'60s thing.
If you don't have an album or you don't have any tune, you can't start.
When Jazz broke through in England, I remember sneaking to listen on the radio much to my parent's disapproval.
I've tried to become a singer with the guitar and not let any technological licks run my life. Just write the licks and play them as best as I can as a part rather than ad libbing.
I would have loved to have been two people, but I was determined not to devote my entire life to my career.
At the end of the day, there are a hell of a lot of notes being played out there and I defy the average middle-American or the average punter to differentiate between them.
I'm a very emotional person. If I've got something on my mind, that would stop me from giving my best.
I do hear snippets on the radio. I do hear a little bit of me, sometimes great chunks of me. But I have to take that as a compliment; there's no way you can get sour grapes about that. But if somebody starts taking your whole new thing lock, stock, and barrel, and do their own version of it before you do it, that's not on.
I'm happy in English studios. I just feel like there's no pressure anywhere.
I wanted to be in Rolling Stone number two with a tomorrow feel to it, like an experimental Rolling Stones with Jagger singing.
London is a dead duck, as far as innovative new music is concerned, unless you want to have your head blown off with some outrageous, rubbish, pounding dance music.
