Quotes of All Topics . Occasions . Authors
After being away from it for so long, it's really nice to go out and have 10- or 15,000 people show up and enjoy it. It leaves you with a very good feeling.
I've never thought too much of 'Rolling Stone.' The first thing I'd do is look at about 50 or 60 of the drummers they have ahead of me and go, 'Oh yeah, right!'
There obviously are a hell of a lot of people that love Lady Gaga. But to me, she's been the theatre of the absurd. And the more absurd it is, the bigger she got.
There's this new band that just started with us called the Dave Matthews Band. My God! I mean, I like those guys. Plus, Dave Matthews looks just like Forrest Gump.
Donald Trump has been horrendous, saying things are bad because of Muslims or Mexicans. This is exactly what happened in the 1930s in Germany, and it's gonna get worse.
Something happens when the music starts, and all that tiredness just goes away. When it's going like that, I'll take on any 20-year-old hot-shot drummer who wants to try me.
I have the distinction of being the only member of the Allman Brothers who has never missed a single show. I have played every single show the Allman Brothers have ever played.
After we did the last Allman Brothers Band show, my wife and I just packed up and went to France for pretty much all of 2015, and I just got bored; I got the itch. I wanna play.
Playing live is really the art form. You're a lot freer, a lot looser. You've got people there that can give you feedback, and then you can play off of that. There's so much more energy.
When I play, I stare at the left hand of whoever is playing lead. And I get to know what people are playing well enough that when they start going somewhere, once they arrive, I'm already there.
As long as all four of my limbs keep moving and I can still sit up straight and play hard rock and roll for 2 and a half to 3 hours, I'm gonna keep doing it, and I'm gonna do it the way I do it.
Duane lived life right on the edge. If you ever read Goethe's Faust, Duane Allman was very much that kind of figure. His deal with Mephistopheles was to experience everything life has to offer, good and bad.
I'm enjoying the hell out of playing straight. It seems to be the case with everybody. We're having a lot more fun. The energy is going into the music now, instead of all the side trips we got into in the '70s.
Back when Napster first came along, I started telling everybody Napster was like shooting yourself in the foot because you're stealing music. The record companies don't pay for us to make records - the bands do.
'Enlightened Rogues' we made like the earlier ones: whatever tune came up, whatever direction it went in, that's the way it went. That's what we'll always do. I think if we ever stop doin' that, we ought to quit.
Phil Walden had complete faith in us, and I'll respect him forever for that. I think he sunk about $150,000 in us. He was close to bankruptcy a lot of the time, and Atlantic kept telling him we didn't have a chance.
Ginger Baker was never my favorite, but he was part of the group Cream that opened the door to what we did. They were the first band to really get into improvisation. They were an absolute necessity to what came later.
See, we started out with a foundation of blues. But then we added people like Miles Davis and John Coltrane to the mix and gave rock n' roll a much more complex structure. It made it possible to play more than three chords.
A lot of these guys come up and say, 'Man, you were my influence, the way you thrashed the drums.' They don't seem to understand I was thrashing in order to hear what I was playing. It was anger, not enjoyment - and painful.
We would work up a tune that would make me learn a drum pattern I hadn't played before. In the early stages, the pattern wouldn't just fall into place, and I would start thinking about it. And the more I thought about it, the worse it would get.
Sometimes you're gonna jump off a cliff and land flat on your face. Then you just get up and go again. But sometimes you dive off the cliff and start soaring with the eagles, and that's when you find new music, places that you've never been before.
Our approach is more the jazz approach, where you learn to play your instrument as well as you can, develop your craft, and then communicate with each other. That's the focus, not trying to give some message or entertain or have a good light show or whatever.
When we're playing, when we're really, really going... you're just in the moment. You're not thinking about yesterday, tomorrow, or anything else. The brain gets out of the way. Your body just does what it knows how to do, and it's just... it's like a religion.
A lot of the cities where we have a strong following, we don't even get to every year anymore. But Stony Brook was a place that, from the very first time we went, the chemistry was right. They loved us, and we loved them, and we just kept going back and going back.
To be honest, I don't listen to much music! I've been so engrossed in it my whole life that when I drive around in my car, I'll listen to college lectures on philosophy and literature and world history, things like that, to kind of catch up on the college experience I missed.
This is show business, and there's room for the shows and the personalities. But I think there's also room for music, for people to play music, and there seems to be an audience developing that's willing to go listen to music again, rather than just be blown away by drum machines and choreography.
One that really caught me was Joe Morello. He was the first drummer I ever saw that could do a roll with one hand. He would turn his hand over and use his fingertips to get the stick bouncing. He could sit there with his right hand doing stuff on the cymbals and tom-toms while he was doing a roll with his left on the snare drum.