And I like messing around in the engine room of music. Seeing what happens in the rhythm section area.

We used to drink an awful lot of alcohol.

I didn't write any music at all, and then, I remember Jon Anderson being very insistent saying that there were two kinds of musicians: the ones who wrote music and the ones who didn't.

I mean, Chris is, I'm sure, a wonderful guy. But in those days he also very, very late. For all appointments and departures and arrivals and sound checks and anything.

I don't really remember a whole lot of sex, drugs and rock n' roll, really.

Close to the Edge, Red, One of a kind, Discipline, Earthworks, The Sound of Surprise, all seem to me to be albums that captured the essence of the intention.

The piano is kind of my second instrument.

I do remember the whole thing as being very argumentative, hot blooded... a permanent state of friction between Jon and Chris, Chris and me, me and Jon.

This amateurism however, can sometimes be helpful in forging a style; you have to work around your weaknesses.

Plus I am being hounded by all the fabulous new drummers, Bill Stewart at the head of the pack.

At the end of the whole day of working with people you want some privacy.

I saw it as a challenge to play with Pat and we put hours and hours into it, usually on the bus. The trick was to find something that we both wanted to play within our different styles which would add up to being greater than the sum of its parts.

The best practice you can get is on the bandstand, but in between gigs I feel I have to stay in shape.

We were from totally different social backgrounds. This is what is very hard for an American to understand, but we could have been five guys from Mars.

But what I think my emphasis is, is on the fact that I like music a lot.

If I was hearing something I couldn't do, I would figure out how to do it.

If it's fast, no I don't have enough piano technique. In that case, it's probably been done on some kind of synthesizer or sequencer. Then the score can then be printed out and so forth.

My harmony is passable but is usually made more eloquent at the hands of Steve Hamilton.

And we'd drink huge amounts of scotch and coke, which is a ghastly sweet drink... And now people don't drink nearly as much, for good reason. We're all a little wiser.

I listen to Bill Stewart play the drums and when I have finished doing that, I listen to Bill Stewart.

So I have the classic amateur's technique; I know some very tricky bits and I have large gaping holes.

I seldom play in a trio, but acoustic music is likely to be lighter, quicker, and quieter.

Sometimes I had to room with Tony Kaye and that was awful.

I have been steadily exchanging a rock audience who were nervous about what they had just bought for a jazz audience who not only were happy with their purchase, but are increasingly coming again.

We all lived in the same house, or most of us did. And as far as I can make out we were confined to the property, because at twenty-four hours' notice we'd have to do a gig somewhere. So you couldn't leave the building for more than twelve hours in case a gig came through.

I practice at home, in between phone calls, and have much to do.

Whatever I have come to offer, I have come to offer and it may or may not be connected to anything that has happened in the past.

And I like messing around in the engine room of music. Seeing what happens in the rhythm section area.

Drummers havent managed to develop their individuality quite as well as guitarists have. We can be so focused on the nuts and bolts that we overlook the importance of individuality the broader picture if you will.

When you use music to worship you are not attempting to entertain.

Pop music, disco music, and heavy metal music is about shutting out the tensions of life, putting it away.

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

You've got to realize. In the western world, regardless of what color you are, what title the music is, it's all played by the same notes.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.

When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.

I want to promote poetry to the point where you got all the baldhead kids running around doing poetry, getting the music out of the way and having only words, the spoken word, and then see what happens.

There is no music that can't be used politically, but the motives behind the creation of that music can be non-political.

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

If not for music, I would probably be a very frustrated scientist. It's one way to answer the question, 'What is the meaning of life?' I feel music answers it better.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

My singing is my hobby. It's me and my brother. We just enjoy writing music.

I was determined to carve out a music of my own. I didn't want to copy anybody.

I have tried to make the music a bit easier for them to understand.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

That music and the lyrical aspects of Razorblade Romance is so personal to me that, now with me being grown up a bit and meeting new people and doing new things, it makes me look at the same things I was writing about back in the day through a different colored lens.

The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.

My big love was the Beatles. I was more into music.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.