Rock Singers

"William DuVall quoted in **{{cite web"

"On Pearl Jam's debut album, Ten. **"

"I'm spasticus autisticus."

"So long have I been languished on the shelf"

"Being part of a rock band takes a lot of energy. That is one reason I became a vegetarian. I feel better physically, I have a lot more energy and I feel better emotionally knowing that I am not contributing to the suffering of animals worldwide. Remember, every time you sit down to eat you have a choice to make. I hope you choose to make a difference."

"Look out world take a good look What comes down here You must learn this lesson fast And learn it well This ain't no upwardly mobile freeway Oh no, this is the road to Hell"

"On the change of the original version of La Passione (1996) by Warner Vision: ...they thought it was a great idea and we started - and more and more people were turning up and I didn’t know who the fuck they were. ‘Oh, that’s Arty somebody, he’s from Warner Vision, he’s flown over from…’ and they’re all yapping away and none of them could get their heads round the idea that it wasn’t meant to be a story. [...] Anyway, egos went all over the place and I lost complete control of it and what I intended it to be hardly went in to the terrible, boring film. And the other thing that really hurt was I did three tracks - which sadly we lost - where, if something mischievous happened, the original idea was to bring in the slide guitar that would start playing a Count Basie routine. All that never happened, it was a shame. [...] They didn’t understand at all, especially the Americans, I mean… I got permission at Ferrari to have their place for a day and there was no film stock left - and I think that sums up the project."

"On the artist, Charley Patton, who changed him: What happened was I was going out on a Saturday night, so I went into my mam’s bedroom, she’s got a double mirror, really kitsch 50s. So I’m in there, doing that, and she’s got an old alarm clock where the radio comes on, but she never learned how to do it properly. And it came on. [...] I remember it was ten past three in the afternoon and it was winter, it was getting dark, and it was when the BBC had just started doing Telstar live things from America. It was some station in Memphis - one of those classic names, ‘RK 51’ or whatever. [...] On it came and there’s this record. The satellite thing was a bit cloudy and it was a 78 record and there was compression on the radio, so it was this strange kind of musical blur with this voice coming through: Charley Patton. [...] On that night I told the bass player of one of the local bands that I’d heard this record and it sounded weird, it sounded like a violin. He said, ‘No, it’s not a violin, it’s a slide guitar.’ I thought, ‘What’s one of them?’"

"On his experience with streaming, illegal downloading: Every Christmas we got a nice little present off God, you know, with sales of The Best Of… and since it’s gone in to YouTube the shortfall is over 90 per cent because people don’t need to buy the record. They would but you’re offering them Driving Home For Christmas for 32p. [...] You see, I’m lucky - we did very well. I feel sorry for the young Chris Reas who aren’t pop stars but love music, but they don’t have anywhere to go with the music, you know? I mean Derek Trucks, it’s just criminal what’s happened to his potential sales because of what’s happened to the business."

"On the disappearance of "rock star" hysteria surrounding him: I took it rather better than some of them I could tell you about, who had nervous breakdowns because they’re not the king any more. I found fame really annoying. Anything to do with ‘celebrity’, I just don’t get."

"On his neglect of being a rock star: There’s a certain discipline about being a rock star, and I don’t have it. If I was a rock star, I wouldn’t have let a photographer in here, dressed like this. I’d have been down the hairdressers. You try and get Sting to do something without 15 advisors. These boys are like Russian princes..."

"On the rock stars: Rock stars don’t talk to each other. They’re too important to talk to another one. They’ve all got their own little palace, their own universe, of which they are the head. So how can they possibly go to somebody else’s universe? They can’t handle it. I will one day write the book that shows just how massive some of these egos are. Because I was a slow success, I was meeting people socially whose records I had at home, who were now talking to me on a what-strings-do-you-use level. And very few of them have not disappointed. [Pink Floyd’s] Dave Gilmour is the only one that [hasn’t disappointed]. That paints everyone else as a cunt. Which they are. But Gilmour is fabulous."

"Fool if you think it's over 'Cause you said goodbye Fool if you think it's over I'll tell you why New born eyes always cry with pain At the first look at the mornin' sun Fool if you think it's over It's just begun"

"On modern blues: Me and the modern blues scene, we have difficulty getting on. I sometimes get the feeling that it’s all sixth-form college: ‘Oh, you shouldn’t do that.’ A lot of modern blues is academic. It’s what someone else did. But the blues is one of the biggest examples of evolution. It’s in constant change. You can’t document it and say ‘stop’. It should be free. [...] And has become some kind of technical thing. I’m fed up now of seeing, ‘Oh, this guitarist is faster than that guitarist’ – that’s got nothing to do with the fucking blues. Then you get guys who come along like Allman’s nephew (Derek Trucks): now that’s good. Fuck me. That’s what blues should be: something you haven’t heard before. The other stuff can get a bit like... you know when you fart in the bath? These scales get so fucking fast. Musically, emotionally, it ceases to do anything."

"On blues in the music industry: You say that word ‘blues’ to anybody in the business – and they fucking run a mile. It’s unbelievable. I had a lot of trouble with Road To Hell. We’d actually recorded the next album – Auberge – before, as an agreement with Warner Brothers. So if Road To Hell didn’t work – and they said it won’t – we would jump straight away to Auberge and forget about it. Of course, the beginning to Road To Hell is a gospel-blues thing. Warner Brothers went, ‘This is going to be over in five minutes’. But I did stand me ground, and it went No.1."

"On his refusal of a set for MTV Unplugged: It’s one of the biggest career mistakes I’ve ever made. I’d be so much more wealthy, because of America. I was offered one of the first ones. But I saw Eric Clapton on it, and it reminded me of Pebble Mill At One. I thought, ‘Oh my God, I don’t want anything to do with this’. Because he’s like God to me. [...] So I turned it down. I should have had an older brother who said, ‘Fucking do it’."

"On working at La Passione (1996): Day one, the damage was done. All it was meant to be was one hour of a little boy’s dreams. And I had things I wanted to do with the guitar that hadn’t been done before. Like, there’s one number called "Olive Oil", where I was actually playing slide guitar in the same scale as a saxophone. [...] But then in came millions of executives from America. So in the end, it fell flat on its arse. And it came out the same week that Britpop took off. Blair had just won the election. Oasis. Spice Girls. So something a bit Fellini-ish – about a little boy who loved red cars – went straight over the top. It was like, ‘Well, don’t you have a 335 guitar with a Union Jack on it?’"

"On media consideration to be a reluctant rock star: I'm not a reluctant rock star, I am not one at all. I haven't an ounce of rock star in me. [...] What I despise about the rock star lifestyle is the lack of music in it. The average day is spent travelling to hotels, giving interviews, being nice to people you're told to be nice to, and maybe if you're lucky you might squeeze a bit of music in. The musician's day is music. [...] I am in that unique little club, where I went into music because I love music, not because I wanted to be rich and famous. I've always knocked on the door of the musicians' room, not the rock stars' room. The British press refuses to see the difference between them, mainly because of the capers of people like Phil Collins, a musician who behaves like a rock star. But there are people who love music and have no interest in being a rock star at all."

"On Charley Patton's voice and music style: I heard this fella, and his voice sounded like my voice. I’d always thought, ‘Well, I could never be a singer with this horrible voice’. I hated it. Absolutely hated it. Still do. But he sounded like the same kind of thing. I didn’t know black American terms: a boll weevil or turnpike blues. But there was an emotion that clicked with me. I became fascinated with gospel blues. I still play more gospel than Chicago. I very rarely go anywhere near that speed, aggression, Clapton thing. Someone once reviewed me, saying the testosterone was missing from my blues solos, because I don’t do Chicago. It’s just alien to me."

"On his first Ferrari: Yeah. It was instant disappointment. (Pink Floyd drummer) Nick Mason said to me once, ‘Chris, do yourself a favour. Stop trying to make excuses about all this. You’re a sad bastard. It could have been heroin. But it’s red cars.’ And he was right. There was nowhere to drive the fucking thing. Y’know, you put it in your garage. You didn’t want anyone to know you had it. Then you take it out, and you couldn’t find anywhere you could do more than 40 miles an hour. I’m a competent driver. I’ve raced at Monza. But it’s a terrible thing. Blues guitar and motor racing bring out real testosterone in some guys."

"There's rain on my window But I'm thinking of you Tears on my pillow But I will come through Josephine I'll send you all my love And every single step, I'll take I'll take for you"

"Driving in my car I'm driving home for Christmas With a thousand memories I take look at the driver next to me He's just the same Just the same"

"Twenty years ago I thought: "What's the difference between eating a bloody steak and killing my dog, slitting him open and roasting him?" I've always loved animals but it was around the late 80s that I realised I had to go vegetarian. A lot of things converged in my life then – musically, emotionally – but mainly it was my love of animals and spending so much time touring that made me decide I had to change my diet. In the Runaways we used to eat a ton of junk food. So something had to give."

"Yeah, it was crazy that it's called "The Day Seattle Died" because I didn't mean it to be that. I meant it to be as far as those two losses in Seattle [Kurt Cobain and Layne Staley's deaths] - to me that's the day Seattle died. I wasn't putting that together and thinking about the exact dates. I had met Layne Staley before when he was really sick. We were on tour with Jerry Cantrell, and Jerry knew I was a giant fan of Alice in Chains. It was Halloween night, we were in Seattle, and all of a sudden, a little dude comes up and he's got an old fishing hat on and he's kind of dressed up like an old dude - he is dressed for Halloween. I guess he didn't want people to see him because he's Layne Staley walking into a club in Seattle, and that would draw a lot of attention, so he got a little costume. He came backstage with me, and it impacted me so deeply to see him in that condition, because he was one of my biggest idols of all time. We opened a bottle of Jack Daniel's and drank it, and I just talked to him about everything for a long time. But the condition that he was in at the time affected me deeply - to see him look years older than what I thought he was. I knew when he left that night, that was the end - that he was going to go. I'm so thankful I got to spend that time with him. So that affected me, and I was like, "That's my hero, I'm going to write a song for him." And then the Kurt thing came in too. He was just as influential, but Layne I just felt more of a connection to - he was way darker, and I've always gravitated towards that stuff. Layne Staley's mom actually reached out to us to thank us for the song, and it was really beautiful. So, it had some impact. People really feel that song."

"God bless Layne. He was my favorite vocalist. I've never heard of a vocalist that had that much soul."

"It was insulting the way people talked about him. People think he chose that fate, those drugs, but it’s not a chosen thing. Layne was the sweetest guy, the nicest guy, and the most talented guy you would ever want to meet. He was funny. He was one of the most least-judgmental people I ever met."

"“Man in the Box” hit in the middle of the “Clash of the Titans” tour — you talk about a tough fucking tour, opening up for Slayer, Megadeth, and Anthrax. They had a revolving headlining set, but still, Slayer’s fans would out-chant any of the other fans in the arena. “Slayer, Slayer, Slayer!” I remember playing Red Rocks, and the place is built ‘up’ — you could hit the stage with pretty much anything you throw from a certain distance. That was one of those landmark moments for the band. We got fucking massacred, dude. They started throwing stuff from the moment we came onstage. It was un-f*cking-believable. We were playing just looking up — watching shit come down, trying to avoid it, without running off the stage. After a while of getting pelted with all this shit — I don’t know how someone did this, but they snuck a gallon jug of some liquid, and they hocked this thing. It came down and crashed on Sean [Kinney]’s set. Layne got fucking pissed. He started grabbing shit and throwing it back at the audience. He jumped the barricades and started spitting back — throwing shit and flipping people off, just like they had been doing to us. So, we all did the same thing — we all followed Layne’s lead. We got right in their face, started kicking the shit they were throwing at us right back in their faces. And we finished our set. We’re like, “Fuck man, we better get out of here — we’re going to get killed.” After that show, there were a bunch of Slayer fans out by the bus. We’re like, “Oh shit, here we go.” We walk up to the bus — they were blocking us from getting to the bus — and they’re like, “You guys are alright. You guys didn’t puss out.”"

"Layne Staley was a lovely guy. It’s such a shame that he couldn’t overcome his demons."

"The whole thing with the heart... there wasn't a real intention or a reason, it's just a collection of ideas that we put together. To me, we had our hearts broken by losing Layne and losing ourselves. And also it took a lot of that to get through this process and to even take the chance, and to stand-up and risk. It celebrates his life. He didn't get treated too well by the press when he was alive, and when he passed away, he pretty much got swept under the carpet, and the news basically been a punchline or a headline. It's kind of cool, he's kinda like Obi-Wan and death, he became bigger than life and people are starting to take a look at his contribution. It was an unfortunate fact that he had an addiction that ended up killing him, but there was so much more to the man and stuff doesn't go away."

"It's something I'm still dealing with, and I still think like he's here. I miss him tremendously. I love him and have to move on. I'll remember him and respect the memories of what we did together and just enjoy life... and that's all I'll say about it."

"He was a one-of-a-kind singer. A lot of guys nowadays try to sound like him, but nobody can sound like him."

"At first, we were just going to call it "Kurt", but then I was like, "Why am I doing this? Staley dies and he doesn't even get on the front page of Rolling Stone. I have to do something" – not that I matter at all, but it matters to me."

"I don't think any drug that can cause brain damage, failing kidneys, hardening arteries, pain, and suffering should be made available. Drugs are not the way to the light. They won't lead to a fairy-tale life, they lead to suffering."

"Kurt [Cobain] and I weren't the closest of friends, but we ran into each other at shows and hung out a lot. I knew him well enough to be devastated by his death. I just don't understand it at all. The last time I saw him, he gave me a ride from QFC on Broadway to a friend's house, the whole way there, which was about a fifteen minute drive, he talked about his daughter. For such a quiet person, he was so excited about having a child, he really loved that little girl. About a month later I saw on the news, that he was dead."

"People have a right to ask questions and dig deep when you're hurting people and things around you. But when I haven't talked to anybody in years, and every article I see is dope this, junkie that, whiskey this - that ain't my title. Like 'Hi, I'm Layne, nail biter,' you know? My bad habits aren't my title. My strengths and my talent are my title."

"Los Angeles Times: In a more recent phone interview, however, Staley proved more forthcoming, saying he isn’t at all surprised at the speculation inspired by the lyrics. Staley: I figured as much. People decipher our lyrics and take things too literally. It won’t change the way I write, though."

"[on Dirt] It's simple. One theme is: Drugs are bad. The other theme is relationships, bad. The last theme is: album, good. Maybe something this blatant and heavy and straight to the point might steer people away from being excited about the idea of trying heroin. There was nothing that blatant shoved in my face, discouraging me."

"Los Angeles Times: And is Staley’s temperament as dark as his lyrics would suggest? Staley: Most definitely, at least from noon to 11 p.m. It’s a product of our generation. People are angry. But I seem to do OK between 11 and midnight."

"I wrote about drugs, and I didn't think I was being unsafe or careless by writing about them. Here's how my thinking pattern went: When I tried drugs, they were fucking great, and they worked for me for years, and now they're turning against me - and now I'm walking through hell, and this sucks. I didn't want my fans to think heroin was cool. But then I've had fans come up to me and give me the thumbs up, telling me they're high. That's exactly what I didn't want to happen."

"The facts are that I was shooting a lot of dope, and that's nobody's business but mine. I'm not shooting dope now, and I haven't for a while.... I took a fucking long, hard walk through hell. I decided to stop because I was miserable doing it. The drug didn't work for me anymore. In the beginning I got high, and it felt great; by the end it was strictly maintenance, like food I needed to survive. Since I quit doing it, I tried it a couple of times to see if I could recapture the feeling I once got off it, but I don't. Nothing attracts me to it anymore. It was boring."

"Once it got really big with Nirvana, Pearl Jam and Soundgarden, there wasn't much mentioned about us. All those bands put out records around the same time, and we hadn't put one out in two years. I don't think it hurt us, though. I'm glad we didn't get lumped together with them, because we're not those other bands."

"From song to song, the album [Dirt] changes from glorifying drugs to being completely miserable and questioning what I thought once worked for me. By the end of the album, it's pretty obvious it didn't work out as well as I thought it would."

"We [Alice in Chains] don't stuff our personal demons inside us, we get them out. It's therapeutic. I'm sure I'll never be completely 100 percent at peace with myself and the world. I'll always be bitching and moaning about something."

"I think our lyrics reflect reality. Maybe not someone else's reality, but definitely ours, you know? I don't write about bullshit and neither does my guitar player, Jerry Cantrell. I have a fascination with how brainwashed people get with religion and how they'll give up their money, their time and their whole life for a cause that they're sure is right, but I'm sure is wrong. I think there's a lot of people who are scared of life and living and they want to make sure they get to Heaven or whatever. I try to stay away from it as much as I can. I was raised in the church until I was 16 and I've disagreed with their beliefs as long as I can remember, so when I had the choice I chose not to believe in anything apart from myself."

"I’m gonna be here for a long fuckin’ time. I’m scared of death, especially death by my own hand. I’m scared of where I would go. Not that I ever consider that, because I don’t. I was lucky enough to get a glimpse of where I was going to go if I did follow through with it. That makes me sad for my friends who have taken their lives, because I know that if your time is not finished here, and you end it yourself, then you gotta finish it somewhere else. There was a time when things seemed desperate, and I thought taking my life might be a way out. I made a couple of really weak attempts, mostly to see if I could do it, and I couldn’t."

"I was sitting with a friend one time, and I blanked out for about a minute. I had no control over my muscles, and it scared the shit out of me because I experienced what I guess could have been hell or, you know, purgatory or whatever. It was freezing cold, and I was spinning like I was drunk and trying desperately to take a breath. There was chest pain like I was gonna explode. If you gotta feel pain here, you gotta feel it somewhere else. I believe that there’s a wonderful place to go to after this life, and I don’t believe there’s eternal damnation for anyone. I’m not into religion, but I have a good grasp on my spirituality. I just believe that I’m not the greatest power on this earth. I didn’t create myself, because I would have done a hell of a better job."

"I know that the guys in this band [Alice in Chains] would do anything for me and I'd do the same for them. I know that I can trust them, and I think now they know that they can trust me."

"At the end of the day or at the end of the party, when everyone goes home, you’re stuck with yourself. There was a time when I couldn’t deal with that, and I couldn’t go places by myself. I needed to call up a friend to go to a 7-Eleven. I just couldn’t approach people when I was alone. Getting a place on my own was a step toward learning how to do that."

"It's good to be with friends and family as we struggle to deal with this immense loss... and try to celebrate this immense life. We are looking for all the usual things: comfort, purpose, answers, something to hold on to, a way to let him go in peace. Mostly, we are feeling heartbroken over the death of our beautiful friend. He was a sweet man with a keen sense of humor and a deep sense of humanity. He was an amazing musician, an inspiration, and a comfort to so many. He made great music and gifted it to the world. We are proud to have known him, to be his friend, and to create music with him. For the past decade, Layne struggled greatly — we can only hope that he has at last found some peace. We love you, Layne. Dearly. And we will miss you... endlessly."

"We are deeply saddened by the passing of Layne Staley, a true original who will no doubt be remembered within the pantheon of rock's all-time greats. We stand in solidarity with our brother Jerry Cantrell in this hour of mourning and send our most heartfelt condolences to all of Layne's family, friends, and fans throughout the world. Today is a tragic day for those of us who know the difference between 'My Sacrifice' and 'Them Bones', between 'How You Remind Me', and 'Rain When I Die'.""