“Good art always comes from psychic pain or hunger. People can be succesful but they still have the pain from the past and a lot of times they can channel that into songs that are combined with good times that have happened to them and then they even have a longer career, but most art comes from people that are tortured, in themselves, and you’re not gonna see that as much now because the development of drugs such as the SSRIs, Paxel and Zoloft and all of those drugs from the, you know, the medications that even out people, and the use Ritalin and other drugs, Adderall and those drugs in younger children, evens them out and doesn’t allow behaviour that superstars exhibited in their growing up, such as probably Steven Tyler and Steve Perry and other great frontmen, I’m sure, all the great frontmen and even frontwomen, I’m sure, Ann Wilson and whatever, I’m sure that these people were outcasts to some extent and definitely were not properly behaved in school because their brains don’t function like anybody else’s, and normalizing these kids now is one of the many reasons there’s gonna be a lot less music that’s great. And nobody… Everyone’s afraid to say that but it’s totally true.”
“They (Aerosmith) were a great band which is why I wanted to sign them. I had seen them. I didn’t really understand what a great problem the drugs were, and when Tim Collins finally decided that he had to do something about it, and he did do something about it in the fall of 1986 and I decided I was gonna try one more time to see what I could get outta them, and I’ll never forget, going to rehearsal; it’s a blizzard with lightning in Boston, January 1987, they had gotten cleaned up, and I go in their rehearsal room, and there’s an entire wall that’s maybe 30 feet high and 40 feet wide, of bras and panties, and that’s what, y’know, this is in their rehearsal room, and I’m thinking, “what am I doing”? Like, I really appreciate bras and panties, but it’s like I, I’m not really sure that, y’know, because they played new songs which I didn’t think were good enough, so I finally say to Steven Tyler, in front of the wall of bras and panties, that I really feel that he should try to work with Desmond Child who had just done Slippery When Wet, try their focus on some of the ideas, like “Dude Looks Like A Lady”, which I heard the idea of, but not being a songwriter or musician, I couldn’t straighten it out. So anyway, they listened to me and Tim Collins got Steven and Joe to meet with Desmond, Jim Vallance and a few other people and that’s how it started to take shape then I convinced them to go to Vancouver to work with Bruce Fairbairn, who I had to convince to work with Aerosmith, because he wasn’t very convinced that that was going to be a good use of his time.“
“I called Michael Monroe and Andy McCoy from Hanoi Rocks, and we all disappeared into a strange, intense friendship bonded in death, drugs and self-destruction. Michael would sit around all day, combing his hair, putting his makeup on, taking his makeup off, and then putting it on again.
“You may really be a transvestite,” I told him one day after I went to look for him in the bathroom at the Rainbow, only to discover that he was using the ladies’ room.
“No, man,” he answered as he smeared foundation on his face. “I just like the way I look.”
“But that doesn’t mean you have to use the ladies’ room.”
“I always use the girls’ bathroom,” he told me, “because whenever I use the guys’ room, I get into a fight because someone calls me a fag for putting makeup on in the mirror.”
– Nikki Sixx – The Dirt
He (Nik Turner) was in Hawkwind from the beginning too, and he was one of those moral, self-righteous assholes, as only Virgos can be.
– Lemmy Kilmister – “White Line Fever”
WE’RE NOT THAT BAD, LEMMY!
You stick your head above the crowd and attract attention, and sometime, maybe somebody, will throw a rock at you. That’s the territory. You buy the land, you get the Indians.
– David Lee Roth –
The story goes they know every detail
The story goes you know the books that I’m in
So the story goes I’ve been self-destructive
Everybody knows that I’m steeped in sin
Everybody knows I’ve got no sense of humour
I’m too morose and too damn peculiar
And the weakness shows
The story goes that I’d give up gladly
Everybody knows a deadman’s prose
Everybody knows that I’ve fucked up badly
I’m just hanging on by the length of my nose
Everybody knows I’ve only got one song
And it’s much too slow and it’s much too long
And this is how it goes
Everybody knows this is some kinda diary
The story goes in some unsecret code
It’s always later rather than sooner
I’m always there when the punch line explodes
The story goes I’ve got the world by the horns
And all this from a well-dressed fawn
And there’s something gone wrong
“A lot of the record,” Rowland sighs, “is about other people’s perceptions of you and how if enough people treat you in a certain way that’s what you become after a while. For years people have described records I’ve made as being depressing, and admittedly I’ve made a lot of melancholic records, but I don’t find records like that depressing. I find Buck’s Fizz depressing… or any music that expresses no humanity. And also I’ve just got tired of the group being viewed as this humourless… thing. There’s always been a lot of irony in the songs; people seem to take so much at face value, so literally, and that’s a shame.” (Guitarist Magazine 1993)