As long as I can have enough to make the record and pay the mortgage, those were always the two things that were most important to me.

I've never been in this business to make money. I've always been in it to make good music.

Mistakes were made, so I learned by my mistakes.

I love everything to do with movies.

I'd sold more records than any other person in history with one album, at that point, in '76. It became a very scary place for me, because I didn't know whose advice to ask and lost my confidence in my own gut feelings about everything.

An artist has to be selfish; otherwise, he's not true to his own art.

I love working with film, whether it's the technical side, the acting side, or the musical side.

This was the rule that I had when we made 'Frampton Comes Alive!': being known as a live performer, I'm not going to go into the studio and overdub.

The number of times that anything is overdubbed on 'Frampton Comes Alive!'... the rule was, if it didn't make it to the tape, then we can redo it because it needs to be done. If it made it to the tape, and it sounds good, we leave it. So nothing was overdubbed on that album at all that wasn't absolutely necessary.

I've always been very gadget-conscious.

I never gave up. I'm a fighter.

I believe I'm an artist that just shines live - it's just something that happens.

The '80s were a difficult period for me.

If one percent of the people who take iPad or iPhone videos of concerts watch them, I'd be very surprised.

The rule is to try and never play the same thing twice when you have the freedom to do that in the song.

I am an oldies act - yes, I am - there's that part of me, but I am so much more than that.

I've never stopped making new music, and whether the audience wants to hear it or not, I'm going to play it. Because I'm an artist, and I create, and I've got new stuff.

I've been a huge Gregg Allman fan since first hearing the Brothers' live 'Fillmore' album.

I've had the honor of sitting in with the Allmans at their Beacon shows a couple of times, and it just doesn't get better than that.

Writing for dance was a wonderfully freeing experience.

Peace, love, and truth trump hate every time.

I'll always be remembered for 'Frampton Comes Alive!,' but I've got so much other work that I've done since that, that I feel it's almost like after 'Frampton Comes Alive!' ran its course, my career - I'll say it - 'Petered' out.

You can't listen to 'Frampton Comes Alive!' without smiling.

A pop star's career lasts 18 months.

Somewhere along the way, things got confused, and the pop-star side of my career got in the way of my musician side.

A lot of other people have used the talk box but have used it as a sound as opposed to actually making the guitar enunciate words.

I did more sessions than I remember doing. There were a lot of things in the Seventies that I played on that people keep reminding me about.

When you put the phone down at the concert, there's your 3-D, there's your HD.

My advice to new artists is to not follow a trend, but to start one. By that, I mean to not be tempted to do what business people might suggest to you, to jump on the bandwagon, but to be strong.

The power of your audience is in the hand of the artist now via all the media - Facebook and Twitter and Instagram and all of them - all of the new available techniques to get to people. I think that you are your best publicist and record company and everything right now when starting out.

I acted in 'Almost Famous.' My album 'Fingerprints' won a Grammy Award in 2007. Even more prestigious, as far as my kids were concerned, I appeared in episodes of 'The Simpsons' and 'Family Guy.'

People tell me they got married to 'Baby, I Love Your Way.' It's heart-warming - I've been part of so many people's lives.

I was petrified about 'I'm in You.' I couldn't wait to get it done to know whether it was good or not.

When you don't have someone, you feel you want someone. Then when you do, it's nice to be single for one night.

I do live a simple existence.

I think 'I'm in You' was lackluster and way too light.

I would like to be No. 2 but never No. 1. When I was No. 1, all eyes were on me. No. 2 slips out the door quietly and makes another great record.

I often explain it to people that if you listen to a Who record and then go see the Who live, it's like two different bands. That's how Humble Pie worked. We were definitely a lot more ferocious live because of the energy that the entire population of us had.

I don't think I could ever be in a band if we just had to go out there and play the record note for note. I'd give up. I'd become a banker.

I had always been a jazz fan - Django Reinhardt, Kenny Burrell, Wes Montgomery, Joe Pass, the early George Benson. And I come from the Hank Marvin melodic upbringing. So blues, I loved, but I also liked jazz. Therefore, my style was more lyrical.

I didn't have huge expectations for 'Frampton Comes Alive!' My previous album, 'Frampton,' had sold about 300,000 copies - a decent amount but not mind-blowing. There was talk at the label that maybe the live record could go gold. I was hoping we could do it, but I wasn't sure.

A year before 'Frampton Comes Alive!' we had released the studio version of 'Show Me The Way' as a single - it was on the 'Frampton' album - and it totally tanked. Nothing.

I love living without a net.

I'm not a good thinker of tomorrow, looking forward. I live day-to-day. It's much easier for me that way.

I'm learning all the time. I've learned things like how to be a better person, better father, better husband.

I used to say it was painful to write lyrics about myself and looking inward.

Detroit has always been a rock and roll audience for me and picked up on me and my performances long before a lot of other places in the country. I will never forget that. It's a home away from home. I love it.

I think that my parents wanted my brother and I to do what they couldn't have done and live a free life and not worry about war.