I have no anonymity.I've not had a drink in nine and a half years. That's my whole story right there.
And in a marriage you can't TRY and be married. You're married or you're not married... as far as I'm concerned.
This was the point of our lives when we found pills, uppers. That's the only way we could continue playing for so long. They were called Preludin, and you could buy them over the counter. We never thought we were doing anything wrong, but we'd get really wired and go on for days. So with beer and Preludin, that's how we survived.
When I run on stage now, a thousand people don't even see you, they're in their phone.
For me, I want to get across the stage to the people. I want to point at you, thirty, forty rows back, and you know I'm pointing at you, and we're having a laugh and getting it together.
Drumming is my middle name.
I've always been playing with other people, and that's how I learned. I got a kit of drums I couldn't play, but I also knew a guitarist and a friend of mine played bass and could teach us bass, and we just played. And I learned.
I like playing with a live band and I've got my act and we're fine.
I hate click tracks. A lot of people I know like to use click tracks. Like my son is perfect on the click tracks. It makes me to edgy.
We [the band] had this open door policy - if you walked in the door, you were asked to play
The kids are interested in the music of them. They're not interested in mop-tops and Beatle boots and crazy suits. It's all down to the music now - that's what they hear, and that's what they love.
The business is so driven by money, everyone's trying to get it right.
I get on with kids and I feel that's because I am one.
I hate click tracks. I'm to busy in the click track to feel my own heart rhythm, my own soul beat.
I used to wish I could write songs like the others - and I've tried but I just can't. I get the words all right, but whenever I think of a tune and sing it to the others they always say 'Yeah, it always sounds like such a thing' and when they point it out I see what they mean. But I did get a part credit as a composer on one - it was called What Goes On.
I'm always good for starting a bit of a tune and the first verse, but after that I just can never go anywhere. It takes me years, that's why I'm so slow.
I was in George Martin's studio in Amsterdam and he was telling me, 'They come in here and it takes them three days to do a bass line.' Well I'm not from that era.
Every night there's a moment that I just wanna go back to bed. I just get nervous. Then I run on (stage) and as soon as I grab the mic then I'm fine.
It all comes down to who you crucify, you either kiss the past or future good-bye.
If you made a record, I'd probably pick out tracks that I like and download that. That's just how it is.
I've never had any big ideas about being the solo.
I've never gone to the bedroom when I was starting out and practiced away.
When they come here, the English make a choice: New York or L.A. L.A. suited me better, I just feel comfortable here.
I'm like everyone else, on the stage it's good. Not too much fun in the hotel or the airplane or the bus, but you got to do it.
I don't talk about myself in the third person, and I laugh at people who do.
