“There’s never any real problem fitting guitar and organ together.”

The one phrase you can use is that success has a thousand fathers, and failure is an orphan.

Everybody’s going through changes. No one knows what’s going on.

It’s silly to say that with a journalist, but sometimes there is not a truth to be found.

The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric’s vocals.

Classical music’s ability to translate emotional themes is fantastic.

I use a lot more chords than most organists and I’m careful to phrase them with the guitar.

I quite like childlike songs, which sometimes cross over.

I think it’s like everything else; one shouldn’t dig too deeply.

Which is understandable if you’re the producer, but aggravating if you’re the artist.

Everybody changes places, but the world still carries on.

We had a missionary zeal about blues music, and I felt, particularly, that Mickie Most was attempting to homogenize, sweeten, and make it accessible for the mass market.

If you become famous and don’t have a live show to back it up, they’re not going to pay you any money.

Any time someone achieves success before they’ve earned it, it always comes back to haunt them.

Richard Fliehr does not make any money.

Our government declared that it is conducting some kind of great reforms. In reality, no real reforms were begun and no one at any point has declared a coherent programme.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

I don’t differentiate between this one sin struggle than any other.

I’m suspicious of any mode of transportation that requires a running start.

Well, if you ask any filmmaker how they got into it, everyone came a different route.