Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.

I don't think that bands that make it on their first album are as strong as bands that don't: there is nowhere to go but down.

The local music community here was dying for a place to record, so we started doing acoustic, folk and bluegrass and then did rock projects for other bands, as well as for my son Tal and my own work.

Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.

I listened to it last night for the first time since we started this project. I went out to my car and put it in and went to an empty parking lot and just listened and read the little pamphlet that came with it. After two or three songs I burst into tears.

I learned at an early age that I was given something special when I was born, and that was the gift of music.

With The Guess Who, it took us fifty-something singles before we had hits.

When you get successful, you can do pretty much whatever you want.

My songs are like cheap Neil Young copies.

Every night we all felt grateful to be there, stunned at the amount of people that are there, and stunned at their reactions. They go crazy; they know every lyric from eight years of age to eighty. It's unbelievable.

Those albums are so important to me because, for the first time, I was making my own music, paying for it, finding strengths in it, and going through the process of finding the right music for the record.

You don't need a uniform color: We used a mixture of brick red, browns and grays, and then threw in seashells, branches and various types of rock, so our walls ended up looking like cave paintings!

Generally, you are held to a sound and that becomes your sound. That gets branded as your sound, and all the copycats start with it because the labels are looking for that sound.

To add an AC outlet, for example, you just drill a circular hole in the wall, tap into the wiring, add the outlet and you're set. If you don't want it, pull it out and plaster over it with more earth to seal the hole.

The fact that the internet is so active; people can now speak to me indirectly.

You take all the things that frighten you, and when you can get them to work for you all of sudden people are calling you a success.

When I was five I had violin lessons.

You are still lucky - you have a certain type of people who keep buying your music - but then you can get typecast and have to keep making that same music, and you can change only slightly. It's risky to bounce around and change your type of music.

When you play all that as a body of work there are four great songs, four mediocre songs and four bad songs. I didn't know it at the time; I was just doing my best.

My love, growing up on the Prairies, was country music.

Burton Cummings joining the Guess Who in January 1966 changed my life forever. It's been a rocky affiliation, no doubt. One journalist once described our relationship as the longest running soap opera in Canadian history. That may be a bit oversimplified.

I look on most religions as fear-based rather than love-based. I've drifted away from all that. Yes, I think I'm more spiritual. I just don't go and pretend every Saturday or Sunday that I'm in this wonderful club. I'm exploring.

I never get tired of performing to people who want to hear me. Hell, that's my handshake to the world. I'm doing just what I've wanted to do since that day I was 15 and heard Lenny Breau play the guitar.

I started playing the violin when I was 5, but by the time I was 12 or 13, I wasn't really liking it.

My life has been a whole series of accidents, some of them happy, some not.

There is a great book out called 'Everything I Needed to Learn I Learned in Kindergarten,' and I believe that everything I ever needed to learn on guitar was in my first two years of hungry learning: Scotty Moore, Hank Marvin, Chet Atkins, Lenny Breau, Chuck Berry and Bo Diddley.

When one knows at an early age that their gift, talent and direction is musical, one tends to focus on that and let nothing interfere or impede the forward motion toward the end of that rainbow. And after 50-something years of rockin' out, you still realise there is no end to that distant rainbow until one's last sunset.

Generally you are held to a sound and that becomes your sound. That gets branded as your sound and all the copycats start with it because the labels are looking for that sound.

We like the imperfect because it reminds us of ourselves.

We're making a commercial Hindi film catering to all types of audiences.

I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.

Audiences always sound like they're glad to see me, and I'm damned glad to see them.

What I wanted to do was to get that sense of being in touch with this lost world while holding onto what draws readers and audiences there in the first place.

We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.

Sylvester has a great popular sense, as good as any writer I've ever worked with. He knows what audiences want to see, and what they don't want to see.

Phish and Dave Matthews really know their audiences and really treat them well.

We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.

Anyway, I collapsed in France in the middle of a tour. I hadn't been eating properly, I was getting very phobic about audiences, and I collapsed in pure fright.

Though I am still very vulnerable to audiences - and it happens all the time - where for some reason the energy doesn't connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

I don't pay attention to target audiences and therefore I often hear that I am a ratings killer, somebody who fundamentally doesn't care whether one person is watching or an entire soccer stadium.

I want to do what I want when I want to do it not be dictated to by audiences.

I also want to return to doing stand-up. I've become frightened of live audiences. This is a really telling sign that I need to go back on the comedy circuit again.

For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.

When audiences come to see us authors lecture, it is largely in the hope that we'll be funnier to look at than to read.

I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.

The difference between critics and audiences is that one is a group of humans and one is not.

Audiences like their blues singers to be miserable.

The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually.

Those two songs condense the two albums. They also show what the audiences wanted. I was desperate to keep the band together and find something that the public would like.