Tom Petty and the Heartbreakers Quotes
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I'm tired of screwing up. I'm tired of being down. I'm tired of myself. I'm tired of bein' down.
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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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It's amazing what's been done already on a shoestring budget...
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Sometimes you work with somebody you've never heard of because you just feel like working.
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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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I think we've always been better live.
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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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My mama was a rocker way back in fifty-three, buys them old records that they sell on TV.
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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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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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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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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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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 get into your late fifties, people start falling like flies all around you. I don't take life for granted any more. I'm really glad to be here.
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I love the music. I'm never, ever tired of playing it.
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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.
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If you don't run, you rust.
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When I decided to be a musician I reckoned that that was going to be the way of less profit, less money. I was sort of giving up the idea of making a lot of money. It was what I loved to do. I would have done it anyway. If I'd had to work at Taco Bell I'd have still been out at night trying to play music.
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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 have never been comfortable being the front man.
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Besides, I'm fairly incompetent. I can't play that fast.
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At the end of the day, you're just phonograph records.