Bands are always told, 'Nobody wants to hear your new stuff - just stick with the meat and potatoes - that's what people come for.' That's only half-true. I know if I went to see U2, I would be thrilled if they did 'I Still Haven't Found What I'm Looking For,' but I'm equally as thrilled to hear their new stuff.
Ann Wilson
I don't know if there is redemption for people like Charlie Rose or Garrison Keillor. An apology helps, but what really matter are deeds.
I think that idea of 'because I'm sexy, I'm a feminist' is kind of immature. But as long as women think being sexy is what makes them beautiful and powerful... then it will continue.
When 'Quadrophenia' came out, I turned on to that because of the whole story with it, and there were just some really amazing songs on there. 'Love Reign' being the quintessential song on that record, I think. That was always one of the cornerstones of my temple, that song.
What's important to me is love, especially that. What's important to me is growing and evolving. But ultimately, what's important to me is being real and being authentic. I've spent enough time in my life holding poses, playing roles.
When you become famous, people can have a powerful yet illusory idea of who you are. You want to live your life, but still, you don't want to let anyone down. I know Ed Vedder, Kurt Cobain, Jerry Cantrell, all those guys felt it. They're smart, real, and all of a sudden, they're put on a pedestal.
I don't think we ever clash but we do become frosty.
Some time ago, I learned how to say, 'What's the worst thing that could happen up there?' I could mess up some words, I could sing flat... I could appear human. Is that really the worst thing in the world?
I've got two sisters and they're both married and they're both much more settled into the way things are.
Heart has always been a rock band. It's always been hard-rock.
You have to also provide a video for it, look a certain way and big hair... If you're a woman it's even more strange with fake fingernails and corsets and all this stuff that was big in the 80s.
People talk about each other in the worst way, especially when you become a product for sale. You're just a thing.
It's one thing to look at someone like Beyonce and Rihanna and to see how beloved and talented they are, and it's another thing to live inside it.
I'm a little bit more unusual so I consider myself as the black sheep.
I think the theme of the album probably was just that it was our first record.
I like the way remixes sound. Some of them are really creative.
You noticed from last night, we only did two from the 80s. And our set's two hours long.
Back when I started, you could either be a folk singer, or you could be a disco diva, or you could be a secretary or maybe a disc jockey, but there was no room for anything alternative yet.
I guess we decided to make a new record 3 years ago when Nancy was done scoring for Almost Famous.
No way, because there's love relationships, there's sex relationships and then there's the band.
Romantic love is just one aspect of love.
People can't just listen to the music and have their own imagination and take them where they wanna go.
Back when we were first making records, you didn't just make the music, you put a great deal of energy into the way it looked, and every word that was written on the whole thing.
I don't think we'll ever use the same sound techniques.
I don't think we will use the 80s glossy sound again.
At that time a lot of young men didn't want to go to the war and kill. This guy that I fell in love with was one of those so he escaped to Canada and I followed him.
Led Zeppelin, you can't find a better band to pay homage to.
Fleetwood Mac are more like a folk-rock band.
It's a really bad idea to be in a band and get involved with each other.
We're not like Alice In Chains where somebody dies and the band breaks up.
I like The White Stripes and I like the kinda twang American thing right now.
It was darn nigh impossible for women in rock in the '70s. There wasn't a mold if you were a woman and you were in the entertainment in the '70s. You were probably a disco diva or a folk singer, or simply ornamental. Radio would play only one woman per hour.
I would be on dates with guys, and the radio would be on, and if the Moody Blues song came on I couldn't concentrate on the guy; I would go straight into the music.
Fame put a lot of pressure on me in the Eighties and early Nineties - and I'm glad that I had the kind of makeup where I could come through it alive, keep myself in hand.
Just being out in the world, you see so many things, and every day, you experience so many concepts and different people and their coolness and weirdness. It's a feast of ideas.
I really feel that a concert is a place where you can bring up topics, and you can actually discuss them and feel them and have a great time.
Heart's always been sort of like a cockroach. You can set off a bomb, and it'll still be alive underneath.
Rock evolved out of rebellion, so when you turn on the Billboard Awards or something like the Grammys, and there's no rock on there, that's a good sign - because that means that rock is not welcome inside of a pop format.
I don't harbor any anti-male feeling in my heart.
We had a mother who could have been called a feminist. That's just how we were raised. Why do you have to go sulk off in some corner because you are a girl? What's the big deal?
Music became less understandable in the wake of the new MTV era. You weren't supposed to be anything other than a pop star, to not go deeper than that. It was really strange. It was suffocating, image-wise. What you could talk about in a song changed; if you were misunderstood, you were really misunderstood - taken literally.
We had always been a real band; Heart was never a construct.
The original Heart logo was made back in the real early '70s by Mike Fisher, who I used to be in a relationship with. He was first our manager and then our soundman. When I met him, he was in design school for architecture, so he was always drawing.
I got married, which opened me up to a whole new way of feeling about life, which in turn reflected on the way I do my art, you know.
I care a lot about Heart; I was there at the inception of Heart.
I trained myself by doing other people's songs in clubs way back when. And so I have no pride about doing covers. I love it. And being a song interpreter, to me, is just as important as, you know, putting your own thing out there. It's all about the soul - where the soul comes from.
