Tom Petty and the Heartbreakers Quotes
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It's amazing what's been done already on a shoestring budget...
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I don't think it's a good attitude in your life to feel that you have to be rich to have self-esteem.
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I think we've always been better live.
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I love the music. I'm never, ever tired of playing it.
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We started with Denny Cordell, and he was a great record producer. He knew exactly how to take a band that knew absolutely nothing, and guide you without trying to tell you what to do.
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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.
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It’s very uncomfortable to hear them used when I don’t agree with what’s being said. But I recognize that those songs have entered into a bigger life, a life all their own. They belong to the audience. How they’re used isn’t always something I can control.
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You spend your life dreaming, running 'round in a trance, You hang out forever and still miss the dance, And if you get lucky, you might find someone, To help you get over the pain that will come.
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George Harrison was the kind of guy who wasn’t going to leave until he hugged you for five minutes and told you how much he loved you.
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I'm learning to fly, but I ain't got wings. Coming down is the hardest thing.
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You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.
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We don't really make bad records, though some people might like some more than others. And we have never really done a bad show. So I think in a way maybe we've been taken for granted.
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Fortunately, as we all know, it's impossible for anybody but Jimmy Smith to really sound like Jimmy Smith.
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I've never had any idea that what I like would resonate with the audience, and I'm pleasantly surprised when it does.
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What a good session musician does is listen to the song, to the artist, and to the other players. That way you can help bring out the song and help the artist express what they want to express. It's never about you stepping out and showing you can play something fancy.
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While viewing the files for the above referenced projects, I was unable to find any documentation indicating the city implemented their waste revenue program approved by this office.
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Redemption comes to those who wait, forgiveness is the key.
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Somewhere, somehow, somebody must have kicked you around some. Tell me, why you want to lay there, revel in your abandon?
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Whoever hired me might've just heard 'Refugee.' Well, I'm not the secret to 'Refugee.' The secret to 'Refugee' is the song. But if somebody really good calls me up to play on something because they like the way I played on 'Refugee,' then I wind up playing on another really good song.
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If you don't run, you rust.
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Working with Waylon Jennings and Willie Nelson takes you up another level.
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When I met Elvis, we didn't really have a conversation. I was introduced by my uncle, and he sort of grunted my way. What stays with me is the whole scene. I had never seen a real mob scene before. I was really young and impressionable. Elvis really did look - he looked sort of not real, as if he were glowing.
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I think that with Bob Dylan around, we're living in an era where we have Whitman presenting new work, we have Dickens presenting new work, we have Yeats and Shakespeare presenting new work. It's that level.
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In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.