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People here are always asking me, "Can you play 'Lips Like Sugar' on an acoustic guitar?" And I'm like, "No!" It was an OK song, I suppose, but it didn't sound like us. We just got sucked into a new mentality on that last album, the sound of Radio America. It did great here, but by then I just thought we weren't good enough any more. It was pretty happening, the States was building and building but it didn't feel good on stage. We weren't really communicating as mates and stuff. I mean, I was used to believing that we were the best group going.
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Describing what American's always ask him.

 

Ian McCulloch

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He paints for the blind, and we are the blind, and he lets us see for sure what we saw long ago but weren't sure we saw. He paints for the dead, to remind us that — great good God, think of it — we're alive, and on our way to weather, from the sea to the hot interior, to watermelon there, a bird at night chasing a child past flowering cactus, a building on fire, barking dogs, and guitar-players not playing at eight o'clock, every picture saying, "Did you live, man? Were you alive back there for a little while? Good for you, good for you, and wasn't it hot, though? Wasn't it great when it was hot, though?"

 

William Saroyan

 

Ever since I was a little boy, I would study composition. And it was Pyotr Ilyich Tchaikovsky that influenced me the most. If you take an album like Nutcracker Suite, every song is killer, every one. So I said to myself, 'Why can't there be a pop album where every...' — People used to do an album where you'd get one good song, and the rest were like B-sides, they'd call them "album songs" — and I'd say to myself 'Why can't every one be like a hit song? Why can't every song be so great that people would want to buy it if you could release it as a single?. So I always tried to strive for that. That was the purpose for the next album.

 

Michael Jackson

 

I guess the biggest joke of all was that story that got out about "Say it ain't so, Joe." Charley Owens of the Chicago Daily News was responsible for that, but there wasn't a bit of truth in it. It was supposed to have happened the day I was arrested in September of 1920, when I came out of the courtroom. There weren't any words passed between anybody except me and a deputy sheriff. When I came out of the building this deputy asked me where I was going, and I told him to the Southside. He asked me for a ride and we got in the car together and left. There was a big crowd hanging around the front of the building, but nobody else said anything to me. It just didn't happen, that's all. Charley Owens just made up a good story and wrote it. Oh, I would have said it ain't so, all right, just like I'm saying it now.

 

Shoeless Joe Jackson

 

"Tommy (Victor of the band Prong) didn't rip off my sound. I asked him to do some stuff for me for the Argyle Park project. He and I worked on what he would actually do. We decided vocals on one song and guitar on another. He actually wrote the riff to 'Doomsayer'. A few months later, he told me he wanted to use the riff for the upcoming Prong CD. No problem."

 

Klayton

 

That night at the "Eagle's Nest", I remember, he was playing a D-18 Martin acoustic guitar and he was dressed in the latest teen fashion, but the thing I really noticed though, was his guitar playing. Elvis was a fabulous rhythm player. He'd start into "That’s All Right" , with his own guitar, alone, and you didn't want to hear anything else.

 

Elvis Presley