A Quote by Brandon Flowers
I grew up with 'best-of' cassettes. My first Smiths record was 'Hatful Of Hollow,' and I had hits albums by Elton John and The Cars.
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My first albums as a little kid were Elton John's 'Goodbye Yellow Brick Road,' Simon and Garfunkel's 'Greatest Hits' - and 'Workingman's Dead.' How many other people still listen to the music they liked at age 12?
'Hatful of Hollow' and 'The Smiths' were lent to me, and they made me want to create music that might make another person feel like they made me feel - to have an effect on someone.
In the rest of the world we had had two albums that were successful, so those two albums' hits and this new four-single package made up an album called Wham! The Final, which is basically greatest hits. We couldn't have done a greatest hits over here, because we'd only done one hit album.
The only criticism heard with any frequency of Elton John's first American album, 'Elton John,' was that the production was too grandiose. The melodies were superb, and lyrics frequently very good, and the performances flawless.
I remember Elton John used to be their owner and he is my favourite singer! I hope the match will be an opportunity to meet Elton John!
I thought I knew Elton John, but then it was like, "Woah, Elton's a pimp! He's really amazing." And since Billy and Elton are homies, I'm finally getting it - the two piano boys.
Before hip-hop existed, we were listening to soul songs from the '70s. I grew up with Motown, Elton John, and the Beatles. To me, that's good music.
When it comes to songwriting, I grew up in the Seventies listening to AM radio. So I've all these pop songs running through my head from Paul McCartney and Elton John, and a lot of stuff that was written on piano.
Truth is, you make albums, and some of those songs are hits, and some of the greatest hits albums have songs that weren't hits. You have a career, the reason why we're still around 10 years is that we do have successful songs.
I lived my teenage years in my 20s when I sort of left home and became Elton John success, then it became Elton John excess... Everything I couldn't do when I was younger I did 10 times over. I was having the time of my life. I was becoming the person that I wanted to be.
In Denver, all we really had was pop radio, so I grew up on all that late '70s pop stuff - Billy Joel, James Taylor, Lionel Richie, Elton John, Steve Miller and Toto. Great love songs and really hooky and melodic music - I have all of that stuff in my heart.
My father was a jazz tenor sax player. He played in a lot of big bands. So I had that sound around me all the time. The first record that really caught my ear was Clifford Brown's 'Brownie Eyes.' I grew up listening to John Coltrane and Illinois Jacquet. This is where I come from... I love improvisational music.
I grew up in Texas, and people love their American-made muscle cars there. I grew up around people who loved cars and took care of cars and my dad's a big car nut, so I learned a little bit about cars - how to love them, most importantly. I think that from the time I could remember, I've always envisioned myself in a vintage muscle car.
We grew up with every type of band from Primus to Mr. Bungle to Elton John to pop music to metal, and we try to throw it all in a blender. And whatever comes out of that is more Avenged Sevenfold than metal or metalcore.
Marylata [ Elton] introduced me to Hans Zimmer. Hans tapped me [to] work on songs for DreamWorks' animated features. I arranged Elton John's opening main title for The Road to El Dorado, I played guitars on Shrek for Harry Gregson-Williams and John Powell, I co-produced "I Can See Clearly Now" for Antz.
From meeting Robert Plant, John Bonham, and John Paul Jones, teaming up, rehearsing, playing selected gigs outside of Britain, coming back into Olympic Studios to record the first album, and then going to America, which we crack open like a nut with the debut record - all that happened, literally, within months.
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