At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.
The Rolling Stones set the bar to where I look to as a band. But I don't envision myself touring in the way they do. My knees won't hold out.
Adam Levine and I remade the Rolling Stones' classic Wild Horses, and it is right up my alley, that whole style. It has a style of its own but still stays very true to the classic arrangement, and I love it.
My musical influence is really from my father. He was a DJ in college. My parents met at New York University. So he listened to, you know, Motown, and he listened to Bob Dylan. He listened to Grateful Dead and Rolling Stones, but he also listened to reggae music. And he collected vinyl.
While the Beatles always had George Martin around to clean up their act, the Rolling Stones had Andrew Loog Oldham to coarsen theirs.
Even somebody like Bill Clinton, who I happen to admire very much, the second he was out of office, I remember, he was interview in Rolling Stone and he said he thought we should have legalized marijuana. And I thought, gosh, if only you were in some sort of position to affect change in the last eight years where you could have done something about that.
We wanted Nike to be the world's best sports and fitness company. Once you say that, you have a focus. You don't end up making wing tips or sponsoring the next Rolling Stones world tour.
I have been a gigantic Rolling Stones fan since approximately the Spanish-American War.
It's like in the Bible.You can't always get what you want, but if you really need something, you usually find it." "What part of the Bible is that from?" Ig asked her. "The Gospel of Keith Richards?"
There's a lot of music that we've never heard before. It's not like we're just pulling out December's Children by The Rolling Stones and listening to that again and again. We are listening to things we've never heard, but they do tend to be from the past.
No matter what Johnny Rotten and Sid Vicious do, they can't be more disgusting than The Rolling Stones are in an orgy of biting.
That really sums up the strange bluntness that a really prime German interview can have. They're really interested in your cultural velocity in this way that I don't think people in the United States even necessarily think about alternative-rock bands. So it's not like we're against regular rock. We're not like a battling army shaking our weapons against The Rolling Stones.
Any time having international interviews is a language barrier, you don't know how much you need to simplify what you're saying for it not to be damaged in translation. But culturally, there are some interesting phenomena. I get the feeling that the way rock music gets described in Germany, it is all like Rolling Stone circa 1975, taken to the 10th power. If you're a rock musician, you're part of the counterculture. Your music is like a critique of everything that is wrong with America.
I think a band - even a band that's been around as long as the Rolling Stones - I think that's still the formula. You know you're gonna get those songs, and you don't mind sitting through the ones that you maybe don't know very well because you know they're not gonna let you down - they're not gonna mess with you. And I kind of feel the same way about the way I structure my shows.
I started wanting to inject more colorful chord phrasings from the music I actually grew up on, which was Hendrix, Rolling Stones, and stuff like that.
I've always said that if you want to find out what's going on in Iraq or Afghanistan or Libya, I'll give you a choice. You can either read The New York Times, Washington Post, Wall Street Journal, Newsweek, Rolling Stone, or you can go to the NATO, ISAF, multi-national force websites where they have their own news releases. Who will give you a more accurate picture? I'll take the mainstream media.
When Rolling Stone handed me this crazy assignment to be in the studio with James Brown, they had the misapprehension that I'd written for them already just because I claimed my character had.
Sometimes I love the marriage of art and commerce; I love Donna Summer; I like the Rolling Stones.
We do what we want to do. We write songs. We try not to repeat ourselves too much. We have our own sound and our own way of doing things. Up until now it has always been enjoyable. None of the members have ever got to the point where they don't want to be involved in it ... It's not entirely possible for me to stand back and look at the Rolling Stones because being a part of it you can't. I wish that I could just sit in the audience for one night and see the show. Everyone in the band has said that at some point. But then you wouldn't be seeing the whole band. And that's the problem with that.
I wanted a real band. I wanted the Rolling Stones, the Beatles.
The rolling stone never gathereth mosse.
I like The Beatles and I like The Kinks and I like The Rolling Stones and I like Led Zeppelin and I like Black Sabbath.
That might be the old model: to get a fixed fee. You have to start to think about other models and how they can generate interest - what it can do for a brand in the future - and about the fact that revenue can also be generated in many other ways... Just look at the one and a half million people at the free Rolling Stones concert in Cuba. And Cuba is not Central Park! So just use your imagination as to what kind of revenue can be made.
Growing up I used to love bands like Free and ELO and the Rolling Stones. When Robert Plant got in touch it made perfect sense to me.
What originally established the band was cover songs like Not Fade Away. Then, later on, we got more well-known ones like Satisfaction, which you might say echoed the thinking of, well, any generation you care to name, including the present one. But we didn't set out on bits of paper that we were going to be the voice of a generation. The original aim of the Rolling Stones was to play blues. It wasn't even to play rock music.
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