The one phrase you can use is that success has a thousand fathers, and failure is an orphan.

Classical music's ability to translate emotional themes is fantastic.

I quite like childlike songs, which sometimes cross over.

I tend to think of the organ as part of the rhythm section, rather than a frontline voice.

I use a lot more chords than most organists and I'm careful to phrase them with the guitar.

There is nothing wrong with the name White Settlement, and the majority here is proud of the name.

As I say, the Animals had a particular concept of themselves as a band. There was an anarchic spirit in it, which was being flattened by commercial designs, attitudes, and needs.

I think it's like everything else; one shouldn't dig too deeply. It's silly to say that with a journalist, but sometimes there is not a truth to be found.

The Animals were a very separate and dissonant group at the time. We came from different backgrounds, different areas - we didn't even come from the same town, basically.

The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric's vocals. There's never any real problem fitting guitar and organ together.

When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.

Why don't they go ahead and change the name of the White House to the West House. They want to do away with the heritage of White Settlement and destroy the history of White Settlement.