68 Rock Quotes

When we look at a rock what we are seeing is not the rock, but the effect of the rock upon us.

The Pumpkins love rock-and-roll, we absolutely love it, but we also think it's a flatulent, ego-serving kiddie playground. You can have your cake and eat it too.

The street's alive as secret debts are paid, Contacts made, they vanished unseen. Kids flash guitars just like switch-blades Hustling for the record machine. The hungry and the hunted explode into rock'n'roll bands That face off against each other out in the street, down in Jungleland.

Jimi Hendrix is very important. He's my idol. He sort of epitomizes, from his presentation on stage, the whole works of a rock star. There's no way you can compare him. You either have the magic or you don't. There's no way you can work up to it. There's nobody who can take his place.

What all this posturing and fake glamor results in is a vast detachment and cynicism on the part of the artists. Since it's impossible to have respect for an audience that'll take just about anything you care to dish out, and the impassive demeanor is so central to the role, a general numbnose is all that can be expected.

When I was younger, I felt it was my duty to wake people up. I thought poetry was asleep. I thought rock 'n' roll was asleep.

The trend toward narcissistic flair has been responsible in large part for smiting rock with the superstar virus, which revolves around the substituting of attitudes and flamboyant trappings, into which the audience can project their fantasies, for the simple desire to make music, get loose, knock the folks out or get 'em up dancin.' It's not enough just to do those things anymore; what you must do instead if you want success on any large scale is figure a way of getting yourself associated in the audience's mind with their pieties and their sense of 'community,' i.e., ram it home that you're one of THEM; or, alternately, deck and bake yourself into an image configuration so blatant or outrageous that you become a culture myth.

I wouldn't wear a tie-dyed tee-shirt unless it was dyed with the urine of Phil Collins and the blood of Jerry Garcia. (1992)

I'm a much happier guy than a lot of people think I am. (1993)

Rock is so much fun. That's what it's all about man.

'He could very well be the Duke Ellington of Rock 'n' Roll.'

I didn't plan on rock 'n' roll. I wanted to learn jazz; I got to know some people doing rock 'n' roll with jazz, and I thought I could make money playing music. In rock 'n' roll you can realize anything that you can in jazz or anything. There's no limitation other than the beat. You have more freedom than you do in anything except jazz - which is dying - as far as making any money is concerned.

If I could get that girl to publish her poetry, the world would change. (On Courtney Love) (1993)

In a lot of ways being a rock musician is an oppurtunity just be be a kid, to stay irresponible.

It's quite funny; Soundgarden were always part of a certain scene but now two years after our split, things seem to have changed. They're playing our songs on the radio, but they label us as classic rock. I'm really proud. After all, it means that they regard us as an important band. I didn't think it would happen so quickly.

Our next presenter is the first woman to ever breast-feed an Apple - Gwyneth Paltrow.

'Presley brought an excitement to singing, in part because rock and roll was greeted as his invention, but for other reasons not so widely reflected on: Elvis Presley had the most beautiful singing voice of any human being on earth. Presley, for some fans, was primarily a balladeer. 'Don't Leave Me Now' (1957), is a love song given distinctiveness by Presley's twangy enunciations, and sustained by the guitar and rhythm sections designed perfectly to complement the balladeer, filled out towards the song's end - as with so much of Presley- , with what one conveniently calls the heavenly choir, which wafts him home but never overwhelms the country lilt Presley gives his music.'

'People will often say that opera singers sound too stiff and operatic when singing contemporary music. This is because the vowels in an operatic style tend to be more open, whereas in a rock style singers tend to thin out the vowel. There is nothing wrong, and everything right, in opening the vowel in the higher register so that the higher notes can be sustained. Elvis Presley was very open in his singing style even though he was 'the' rock and roller.'

'It is when Guralnick shows how young Elvis made his way through this cultural briar patch, that we get what we need. He got voluptuous phrasing and ecstatic self-confidence from gospel, wit and menace from the blues, homespun sincerity from country and, from what we can now call gay theatrics, he got glamour and self-parody. He played the outlaw and the good son. How he flirts with his audiences, first being casual, fervent, sneering, then inviting us to laugh at, or with him. ?As you desire me?, he is saying, ?so shall I be?. Was he a great performer? Yes and yes again. He galvanized rock-and-roll and made you feel the fun and the risk and all the contradictions. That's self-invention, and that's entertainment.'

'He never understood the artistic claims that were made for him, probably thought very little of the nature of his appeal, or his music; yet, as author Greil Marcus points out in 'Mystery Train', it is possible to see (all that) as a positive factor; Presley viewed 'rock and roll' as for the body, not the mind, so he recorded and performed accordingly; and, if much of his rock music sounds superficial, it was thanks to his undoubted vocal talent and extraordinary charisma that, at least, it was all gloriously superficial and celebratory; he knew better than to take it seriously and, in doing so, he become the consumate rock fugure, one that defined its spirit by delighting in its very limitations'

'Elvis was one of the prime architects of rock and roll music. As such, he influenced several generations both musically and socially. The urgency in Presley's voice is just one part of the equation, and the ease with which he swings tells the rest of the story. Equal parts balladeer and rockabilly king, Elvis played both sides of the fence. He was both tender-love-man and hard-hitting rebel. As this collection proves, his genius was in the way he made it work'

' In 'Mystery Train' (1955), he rocks out with an astounding depth, Elvis' voice never sounding so rich, nor so pleading; best of all is his final spontaneous laugh & whoop of excitement, worth its weight in gold'

'Had Presley never sung a note he might have still caused a stir, but sing he did. Watershed hits such as 'All Shook Up' (1957) or, for instance, 'Are You Lonesome Tonight', (1960), were eminately Presley's from the moment he put his stamp on them. His jagged, bubbly highs, and Southern baritone jump from those recordings like spirits from a cauldren. Elvis crooned romantically, then screeched relentlessly, always pouring his heart into the lyric and melody. After Elvis, the male vocalist could no longer just sing a song, especially in the new world of rock-n-roll. The 'feel' of a performance far out-weighed the perfection of the take.'

'Arguably the finest recording found in all the Sun sessions, 'Trying To Get To You' (1955), is a song that Presley made his own due to his hugely committed vocal, and the simple carefree abandon with which he performs it; at first, it feels like a classic country song with simple, elegant lyrics; but it is at the bridge - where Elvis really lets fly -, that the song is transformed from a lovely country lament, into deep blues; although the 1955 version is magnificent, Elvis manages to better it on his '1968 Comeback Special', in which he sings the song with so much intensity, it prompted critic Greil Marcus to exclaim 'this is probably the finest rock and roll ever recorded'.

'This is the best way to hear Elvis the Superstar, with 'Hound Dog,' (1956),'All Shook Up,'(1957), 'Are You Lonesome Tonight' (1960), and the ever zany 'Suspicious Minds' (1969), still sounding fresh and immediate -impressive given how many times most the world has heard them -, and showing off the diversity of Elvis' singing, from the purity of his gospel falsetto to his rock and roll purr.'

'But the core of the album, and perhaps the core of Elvis' music itself, are the soulful gospel-flavored ballads. Well, it's often seemed as if Elvis bore more than a passing resemblance to soul singer Salomon Burke. The way in which he uses his voice, his dramatic exploitation of vocal contrast, the alternate intensity and effortless nonchalance of his approach, all put one in mind of a singer who passed this way before, only going the other way. And here he uses these qualities to create a music which, while undeniable country, puts him in touch more directly with the soul singer than with traditional country music. It was his dramatic extravagance, in fact, which set him apart from the beginning, and it is to this perhaps, as much as anything else -- to the very theatrics which Elvis brought to hillbilly music --, that we can trace the emergence of rock & roll.'

Jade: It would be nice if some of these rock guys from the midwest pick up the record and actually get in to it. It'll be like that metrosexual episode of South Park: those guys will be showing up at the Nickelback concert with product in their hair and wearing a mesh shirt.

Kevin (one of the engineers), our man in the studded leather bracelets and AC/DC tour jacket says that they sound like a very sick Judas Priest, but of course in my estimation Judas Priest sound like a very sick Judas Priest.

'We are Motorhead... and we're gonna kick your ass!'

'We are Motorhead, and we play rock 'n' roll.' - Lemmy's opening words at Motorhead concerts.

Things started to go downhill. Instead of singing about taking tea with Mary Jane and boppin' your dingus on ol' Sweet Slit Annie it was Help me God I don't know the meaning of life or I believe that love is gonna cure the world of psoriasis and cancer both and I'm gonna tell the people all about it 285 different ways whether you like it or not. And Why is there war well go ask the children they know everything we need to know, and Gee I sure like black folks even if my own folks don't and endless vinyl floods of drivel in similar veins. At that point I started to pack in and resort back to my good old ' 66 goof squat rock. I got out records like 96 Tears by Question Mark and the Mysterians, who were mysterious indeed, and re-whooped to jungle juju cackles like 'Wooly Bully,' which is indescribable and was recorded by a bunch of guys who drove around in a hearse wearing turbans.

The top rockers have a mythic aura about them, the 'superstar,' and that's a basically unhealthy state of things, in fact it's the very virus that's fucking up rock, a subspecies of the virus I spoke of earlier that infests our culture from popstars to politics.

We sound like the Bay City Rollers after an assault by Black Sabbath. And, we vomit onstage better than anyone. (1992)

Guns N' Roses are a shitty band that makes shitty music. (1992)

Yeah, I was run out of town. They chased me up to the castle of Aberdeen with torches. Just like the Frankenstein monster. And I got away in a hot air balloon. And I came here to Seattle. (1992)

Jocks have completely taken over music... And just to get back at them, I'm going to start playing basketball. (1993)

I wouldn't have been surprised if they had voted me Most Likely To Kill Everyone At A High School Dance. (1993)

The thrill and embarrassment of becoming international pop stars was too much, so we opened our mouths and put our foot in sometimes. (1993)

I can't play [guitar] like Segovia. The flip side of that is that Segovia could probably never have played like me. (1994)

I just think there's a breed of people who honestly like music. And there aren't very many of 'em, really. Those are the people who usually become musicians. It doesn't really matter what environment you grow up in. It's just some environments are more restrictive than others. (1994)

Hello, we're major label corporate rock sell outs. (04/17/91 at the O.K. Hotel, Seattle, Washington)

He had a touch most guitarists would kill for.

I only met Kurt once...I was touched by him. He seemed a little shell shocked as though he felt yet another show might drop at any time.

Kurt Cobain, we was good friends Ozzy Osbourne too.

'Lesson #1 is that rock music is in the fighting spirit, not in the amperage of the guitars; indeed, some of the toughest rocking has come from all, or mostly acoustic bands; Elvis presented a primer lesson from the famous Sun sessions, with a simple blues song through the most famous faux false start in rock history; he and the boys start out all slow and bluesy, before stopping the band cold and calling it out like the hippest beat poet: 'Hold it fellas. That don't... move me. Let's get real, real gone for a change'. Then they did, let it loose, turned every bit of intensity in their beings into a jumping arrangement, much faster and more rhythmically nuanced a performance than the opening. Much of the intensity is in the fast and furious, but precisely laid out detail work; there is a strong sense of spontaneity and discovery, but what ultimately makes this a hall-of-fame performance is the vocal performance; Elvis doing tricks, making sudden octave wide jumps. 'If you see my milkcow...' There is a charismatic determination of spirit that Nietzsche would no doubt have recognized as the will to power; when the King got through with it, it was no longer anything to do with a high calcium drink, but about the singer's assertion of his place in the universe'

'Good evening all you rock'n'rollers!' -Earls Court, 1977

In 1991 there was a kind of shift in rock music in America - it was shifting away from all the hair bands in LA. And with Kurt Cobain you felt you were connecting to the real person, not to a perception of who he was - you were not connecting to an image or a manufactured cut-out. You felt that between you and him there was nothing; it was heart-to-heart. There are very few people who have that ability. I never met him but our guitarist Kirk Hammett had a relationship with him. We were doing this tour with Guns N' Roses in the US in 1992 and we wanted Nirvana to come out and join us. Kirk asked Kurt, but while Cobain said he would play with Metallica anywhere in the world, at any time, on any stage, he would not step up on the same stage as Guns N' Roses - obviously he felt that Axl was the antithesis to what he was. As I said, I never met Kurt, and he's probably the only guy in rock'n'roll that I have never met that I really wanted to - other than Bon Scott maybe. What a sad thing we can't hear the fourth Nirvana album. It would have been so great to be able to see how that would have evolved.

I don't think there is a musician today that hasn't been affected by Elvis' music. His definitive years - 1954-57 - can only be described as rock's cornerstone. He was the original cool.

Ziggy played guitar

The rock stars today who don't do drugs and who in fact speak out against drugs - 'We're rock against drugs!' - boy, they suck.

Roky Erickson and the 13th Floor Elevators, a band out of Texas, they were basically the first psychedelic-rock band, 1965. And if you listen to old 13th Floor Elevators stuff - Roky Erickson especially, his voice - and then go back and listen to early Led Zeppelin, you know that Robert Plant absolutely copped everything from Roky Erickson. And it's amazing. And Roky Erickson is sitting in Austin, Texas; he's just there. And Robert Plant had a huge hit. It always goes back to those guys, you know? I love those fucking guys. (2004)

My brother] turned me on to Van Morrison and Bob Dylan. I remember listening to the soundtracks to A Clockwork Orange and Last Tango in Paris. I loved Aerosmith, Kiss and Alice Cooper, and when I was older the Clash, the Sex Pistols and the Ramones. (2004)

There's absolutely a movement of a return to rock. Sometimes the good guys win. Kids are sick of the fucking pop and sick of being lied to. Everyone wants something real, something that was created to invoke a positive feeling.

All that stuff about heavy metal and hard rock, I don't subscribe to any of that. It's all just music. I mean, the heavy metal from the Seventies sounds nothing like the stuff from the Eighties, and that sounds nothing like the stuff from the Nineties. Who's to say what is and isn't a certain type of music?

The idea of a band nowadays is 5 pretty boys, one with a tattoo, one with a shaved head, and on and on. What the fuck is that? I mean, I like Britney Spears, I think she's pretty, but I'm not from the Mickey Mouse Club-I'm from the Godzilla Club!

Black Sabbath was a hippie band. We were into peace.