Top 106 Quotes & Sayings by Ian Gillan

What happens is we finish the show, have a couple of drinks, go back to the hotel, talk, and that's it.

When you think about it, we sold about 120 million records, which relates to about £1.2 billion in the U.K. economy. We've seen very little of that.

The reason 'Fireball' is my favorite album of that period is that without 'Fireball,' we would never have been able to make 'Machine Head.'

I hate it in America where the protocol seems to be you are expected to tip regardless of the quality of service. I like to tip when it's not being demanded of me, and if the service has been good, I tip quite generously.

I do ironing not only for myself but for everyone at home, everyone in the studio if they want it, and if I run out of ironing to do, I put everything back in the washing machine and get it out again clean so I have some ironing to do.

I remember my uncle, who was a jazz pianist, when we did Deep Purple 'In Rock,' he ran from the room screaming, holding his ears: 'I can't hear anything. I can't hear any instruments.' And I was rubbing my hands going, 'Great.'

When I picked up my guitar, I spent the first day learning the chord E, the second day A, then B7, and all of a sudden, I could play the blues.

When we arrive at the studio, we put the kettle on, have a cup of tea, say, 'How's the family? You still got that old car? Is that dog still alive?' and then we start jamming. That's how the songs get written.

The biggest income we make is from live performances, without any doubt. That's about a 4-to-1 ratio from anything else.

Although he appeared in some awful movies, Elvis could also be pretty damn good as an actor.

We have been called old rockers, rock pensioners, and dinosaurs.

Glenn Hughes is one of the most naturally talented musicians, but he's still copying Steve Wonder to this day, so I can't call him a bona fide member of Deep Purple.

I like walking and hiking, and many of the ideas for songs have germinated from this.

If you've got a wound, and it's just about to heal up, and it's got a nice scab on it, and you think in two or three days, that's gonna be completely healed, then somebody comes along and pokes it with a stick, and it opens up again. And that's what happens with the Ritchie-and-Deep Purple situation.

My first contract was in 1965. There were six of us in this band - my band before Deep Purple - six in the band plus management, and the entire royalty rate was three-fourths of 1 percent.

I assume I must have a pension, but I don't know for sure. I have heard of ISAs, but I can't tell you if I have any.

I've played football with George Best, the greatest footballer that ever lived. That doesn't make me a footballer. And I've sung a duet with Pavarotti. That doesn't make me an opera singer. I can write and I have a story to tell, but I'm not going to make a career out of it.

It was immaterial to me that Elvis didn't write his own songs. Those were very different days, and he selected whatever suited him best from material supplied by publishing houses and teams of writers - all of whom were extremely conscious of his style of delivery.

The people who come to Purple shows are there for the music.

When you're young, you're immortal, or so you think, and you never think there will be problems ahead.

I sang 'Nessun Dorma' twice with Pavarotti, and he told me he'd heard 'Smoke' about five or six times, and every time was different. He was so jealous because if he deviated one jot from the traditional interpretation of the famous arias, he'd be crucified. We have the freedom.

It means a lot to a lot of people, 'Smoke On The Water.'

I know in my heart of hearts that Ritchie Blackmore is one of the great guitar players of all time. He's a fabulous technician, and he's got incredible skills, and he was a great showman.

My grandad was an opera singer, my uncle a jazz musician; I was a boy soprano in the church choir. But the first performance with Deep Purple was something I'll never forget. All elements were working brilliantly.

There's a wonderful woodland, spiritual song I wrote in Undercliff in Lyme Regis, and I used to walk up there with my dog and always come back with an idea.

The thing about a band is, it's not so much how good the musicians are - it's the blend of personalities and characters. It's the human chemistry that makes up a good team.

Our partying was governed by licensing hours. When the pub or club shut, that would be it.

I'm very grateful for the other bands and artists that stood up for us with a view to our induction - that's nice of them. But I wish that the Hall Of Fame had had the discretion to ask us first. It's now become a debate in which we are too late to have the final word.

Elvis's voice was unique. Like so many others, he had natural, technical ability, but there was something in the humanity of his voice, and his delivery.

'Smoke On The Water' was ignored by everybody to begin with. We only did it in the shows because it was a filler track from 'Machine Head.' But then, one radio station picked up on it, and Warner Bros. edited it down to about three and a half minutes. It then started getting played by lots of different radio stations.

I was in a band called Episode Six with Roger Glover, which was more of a harmony band, really. At one gig, there were a few dodgy characters leaning up against the wall of the venue - and we ended up joining their band. Purple was the talk of every musician in the country - they had something new and very exciting.

I'm completely irresponsible, I'm afraid. I'm ignorant about money as a commodity - I have never really understood it.

I'm not a writer; I'm not a novelist.

My father was a storekeeper at a factory in west London.

I don't think happiness comes with money, but if you are hungry, you can't be as happy as if you aren't hungry.

One of my greatest pleasures is writing on my Web site.

I've been in music all my life.

I once wrote a song called 'No Laughing in Heaven,' which was about not wanting to go to Heaven due to the company I'd be keeping, and with a few exceptions, the Hall of Fame is pretty much the same thing.

We always used to describe ourselves as an instrumental band. Basically, the music was always instrumentally based, so the songs always came later.

When I'm writing with Tony Iommi, for example, still it's very easy. We go in, and I know exactly what his style is. It's very distinctive, and you know exactly what he's looking for, and we know exactly where we're going from the first chord.

Deep Purple was sinking with Ritchie. We were playing to quarter houses in Europe, which is one of our strongest territories - in Germany. Smaller venues, and they weren't even full. So had we continued that way, and had Ritchie not walked out, we would have finished; that would have been the end of it.

I think you function much better when you trust people and when you've got a sort of relationship where you can develop ideas within a framework.

The thing to remember when you're re-recording pieces from the past is that you have to have respect for the original performances, recordings, and arrangements.

I love extended solos. I used to like them in the old days a lot, because it used to give me time to go to the pub for a drink.

In Poland, the whole saying is, 'You've got one eye to Morocco and the other to the Caucasus.' That's the heart of the culture. In England, they say it less romantic: 'You've got a wandering eye.' The saying means my main stream in life must be Deep Purple. That's my main job. Then every now, and I can wander off and have one eye to Morocco.

We were the first generation of rock & roll, but life goes on.

I grew up moving from one council flat to another and finished up in a three-bedroom semi-detached on a council estate in Cranford, a suburb of Hounslow. This was in the days when there was still rationing, and we had to be thrifty.

I was an avid collector of Elvis' early stuff; for a young singer, he was an absolute inspiration. I soaked up what he did like blotting paper. It's the same as being in school - you learn by copying the maestro.

If you think of a solo artist, you normally know them by their name; you don't normally describe their kind of music. You just say, 'It's so and so, or it's so and so.' But with bands, everyone feels an obligation to categorize them.

You can never criticize a monumental musician like Jon Lord or Richie Blackmore, or the part they played in the group, but life goes on.

It's a fine line between self-assuredness and arrogance.

Purple - I mean, the music and the influence and the subliminal touches range from orchestral conversation to jazz to blues and soul and God knows what. It's a vast range of expressions.

We've never gone into the studio with prepared material... we never have.

I think there's something about having a purpose in life and a sense of belonging that is more important than money for any human being.

No matter what I do, I've always recognized that Deep Purple is primarily an instrumental band. That's where all the music comes from in rehearsals - it all stems from the music.

I've never listened to any of Purple Mk III's records.

I love Buffalo. The people here are wonderful, genuine; they look you straight in the eye.

I have got a good imagination.

In the early Seventies, I bought a dilapidated hotel in north Stoke for about £100,000 and spent the same amount again renovating it, putting in a guitar-shaped swimming pool, painting the bathrooms purple, and installing gold dolphin taps.

'Classic rock' is never a label that we've given ourselves - it's one of the many labels that's been imposed on us.