Pastoral Resources

But I got a guy on third, I was in a jam the other day in a game, all those situations, when you need a strikeout there, in big spots. But we are very aware of that fact, that these guys put the ball in play.

I was born to play baseball.

I bought a piano once because I had the dream of playing As Time Goes By as some girl's leaning on it drinking a martini. Great image. But none of it worked out. I can't even play Chopsticks. But I've got a nice piano at my house!

You have to love the characters you play, even if no one else does.

I think the diva is kind of a cliche. My definition of a diva is somebody whose talent does not match what they're trying to play, so all this temperament comes out.

I wanted to play rock and roll when I started playing. Nobody at that time ever thought about songwriting. You sang songs, that's all. You sang other people's songs. That's all there were.

Commissions suit me. They set limits. Jean Marais dared me to write play in which he would not speak in the first act, would weep for joy in the second and in the last would fall backward down a flight of stairs.

I went on and was still able to play some good hockey.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

If I could read it, I could play it.

Well, I guess the sexual abuse by Mel Phillips in a sense, he had a fetish for feet. He used to play with my feet and other kids' feet, and that was his thing.

That's what I was trying to say when we were talking about sound. I think that every person, whether they play music or don't play music, has a sound - their own sound, that thing that you're talking about.

So, for instance, if you came to me, I'd ask,'Do you want to write? Do you want to improvise? Why do you want to play this instrument? What do you want to do?'

Actually, when I was in elementary school, I saw a saxophone. A band came to my school, and I saw this guy get up and play this solo. And I said, 'Oh man, what is that! That must be fantastic!'

After I left Texas and went to California, I had a hard time getting anyone to play anything that I was writing, so I had to end up playing them myself. And that's how I ended up just being a saxophone player.

I've been playing with Blackwell over 20 years. We used to play when I first went to Los Angeles. Blackwell plays the drums as if he's playing a wind instrument. Actually, he sounds more like a talking drum.

Even when you write it, someone's got to play it. So if you can play it and bypass all the rest of the things, you're still doing as great as someone that has spent forty years trying to find out how to do that. I'm really pro-human beings, pro-expression of everything.

Our subconscious minds have no sense of humor, play no jokes and cannot tell the difference between reality and an imagined thought or image. What we continually think about eventually will manifest in our lives.

But by us doing a lot on the road, we were able to afford things like videos on the tours, cartoons that we'd open up the shows with. We were doing that way back when and now it's the hippest thing to do. We're just coming back around, I guess trying to play catch-up.

I always sang when I was little and my father, who was a great influence on me, also had a wonderful voice. He and my mother really encouraged me to sing and play the piano. They were always very supportive.