Quotes About Expression

If you are any competent musician, if you have creative ideas, ideas of songs, of arrangements, in a band like the Stones, where these 2 people do all the things, there is no freedom.

I love those Keith Richards solo records, but it's not the Rolling Stones.

The Stones are great and always have been. Jagger's lyrics are just amazing. Right on the ball every time.

I take my hat off to people like the Stones, but it's not for me. I couldn't do that. Jagger is brilliant and long may he rock. I couldn't make my career out of old songs; it would do my head in.

I love OneRepublic, The Script, All Time Low. I love pretty much every genre. I love the Rolling Stones and Elvis.

I learned to play piano in a rock n' roll context or band context from country records - you know, Floyd Cramer - and from the Beatles and the Rolling Stones and Stax. And none of those are keyboard records.

We listened to a lot of Rolling Stones and Beatles records when we were recording. They were really good at not playing loud, but generating really big sounds out of everything.

It's good fun, making a solo album, because there's perhaps songs that wouldn't get used for the Stones or any other kind of outfit that I'm working with. It's just nice to be the boss.

You know, Rolling Stones songs all sound kind of the same.

If you look in my CD case, you'll see it's Pink Floyd, The Rolling Stones, The Beatles, now I can't think of anyone else, but all that stuff.

Musicians of any era - whether it be The Beatles, the Rolling Stones, Rage Against the Machine, or, of course, Madonna - will inspire fashion. And we, in turn, will inspire them.

I'm more in the Stones camp than the Beatles camp.

I've been ripping the Rolling Stones off with every song I write in some form or another.

If you look at Keith Richards' hands, from the Rolling Stones, they're these gnarled, arthritic - it looks like people beat his hands with clubs. It's amazing there's so much character in his hands.

Everybody is always raving about the Rolling Stones, saying, 'The Stones this, and the Stones that.' I've never cared for the Stones. They never had anything to offer me musically, especially in the drumming department.

I love everything from The Rolling Stones to Run-DMC to Nina Simone.

When I first started writing songs, I looked around at the bands that were making it, and they all had the original material. Jimi Hendrix, the Beatles, the Stones - everybody was writing their own songs. That's the way that you established your own identity.

I used to think that the great thing about sculpture was that, like Stonehenge, it was something that stood against time in an adamantine way, and was an absolute mass in space. Now I try to use the language of architecture to redescribe the body as a place.

Everything the Beats stood for was the opposite of the dominant culture today.

When I want to be popular, I pull on a guitar and sing a song. Pras did not affect me because, in the realm of politics, he has never stood up for anything.

I was absolutely lost in love and life when I did my drawings. Time stood still.

The thing that got me closest to doing Kermit was remembering what Jim did when he was doing Kermit. When he would do Kermit, there were certain faces that he made. There was a certain way he stood, a certain kind of body language that he had.

I would do these performances around town at different places, and that's when I really fell in love with performing, and I knew this was something that stood me up and filled me in a way that nothing had and nothing could. I really just fell in love with it.

I stood in front of a mountain and was overwhelmed by the beauty and energy; I had goosebumps. I thought, if I could record this feeling, go back home and pour it out again so other people can have that feeling, this I would want to be my work. I knew it was acting - I wanted to be like a messenger or medium.