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The first time I ever went to Hawaii, I was listening to island music, thinking, 'I could've been born here, and I'm pretty sure I would never play that.'
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Led Zeppelin is just a bunch of stupid idiots who wrote cool riffs.
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Soundgarden signing to a major, then Mother Love Bone, and seeing the same happen to Alice in Chains. We were all suddenly making music and recording at the same time, and we had money to do it. It wasn't like a $2,000 recording that you do over a weekend. It's like, 'Wow, maybe this will be our job.'
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Companies figured out that the easiest way to make money was to reissue records that the accounting department had paid for years ago and already made a profit.
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I think the concept of commercials, for example, I have had offers to do songs in different commercials, and it is not what I have liked.
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There's no way to be a 30-year-old band, go on tour, and pretend the nostalgia isn't happening.
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There's a lot of music that I don't like.
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Definitely, when you get into something where bands are playing for 30,000 people, it's not like the post-punk, U.S. independent scene.
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In the beginning of Audioslave, I was very honest. I said, 'We make great albums and write great albums - but don't be under the impression I'm going to be a lyricist that writes anything other than what strikes me as inspiring in the moment.' The lyrics weren't going to be focused politically.
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Kerrang! Magazine, March 1, 1997.
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What formed me as a musician, a songwriter, the sound and personality of my band, a whole lot of that happened well before 1991.
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The freedom I have as a U.S. citizen is unparalleled. Despite the fact people may not like American passports, having that passport affords me more freedoms than any other passport could.
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I've always had a really difficult time with loss.
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It just doesn't get any more stripped down than going out totally alone and doing songs.
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Rock never meant the same thing to everyone, but when I was growing up in the late seventies, everyone could identify the five, ten bands that formed the center.
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He's like one of my best friends in the world. Absolutely genuine guy, I swear on the bible.
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I'm interested in where I'm going and the people I am there to see. Going to Cuba was a great example of that, and the succession of going into Cuba, which is not a very easy place to get into, and playing music for people who have never seen a live rock concert outdoors like that.
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I prefer not to use any machines. I focus a lot on cardio, which is what I do when I'm on stage. I also am into isometric workouts.
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I never look back, ever. I'm always looking ahead, working on the next thing.
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I never thought of myself as being the singer that wanted to create an identity and then stick to that.
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I think Freddie Mercury is probably the best of all time in terms of a rock voice. There was a vulnerability to it, his technical ability was amazing, and so much of his personality would come out through his voice. I'm not even a guy to buy Queen records, really, and I still think he's one of the best.
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Ever since I can remember I’ve had positive and negative fan reviews. And whether it was positive or negative it wasn’t always based in reality or what my perception of the music was. But judging from playing these new songs live and my feelings on the record [Scream] – and it’s a great record – there is definitely an audience for it. Also, I don’t really go to clubs so I don’t know what sounds are made there.
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I'm not usually in a talkative mode.
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I've always felt like there's a certain amount of doing what I do, and performing and making records and doing interviews and photo shoots and that, that are kind of a necessary evil of getting my music to people's ears to hear. Over the years, I've just become more tolerant of that.