People feel entitled to take whatever's online without paying for it.

This is show business, and there's room for the shows and the personalities. But I think there's also room for music, for people to play music, and there seems to be an audience developing that's willing to go listen to music again, rather than just be blown away by drum machines and choreography.

You're playing for yourself. And if you're not playing for yourself, you're an entertainer, doing it for the crowd.

Blues Traveler is hot, and Big Head Todd, the Screamin' Cheetah Wheelies - all of 'em.

Country's cool if you like that kind of thing, but it doesn't have the complexity or - what's the word? - subtlety.

I don't think we listened to any rock n' roll at all in the early days. It was Miles Davis and John Coltrane 95% of the time.

When you're good-looking, I think you usually don't have to work as hard.

After we did the last Allman Brothers Band show, my wife and I just packed up and went to France for pretty much all of 2015, and I just got bored; I got the itch. I wanna play.

Majored in staying out of Vietnam.

As long as all four of my limbs keep moving and I can still sit up straight and play hard rock and roll for 2 and a half to 3 hours, I'm gonna keep doing it, and I'm gonna do it the way I do it.

With the jam bands I've seen, it's about music, and it's about theory, and it's about making everyone feel better with music.

See, we started out with a foundation of blues. But then we added people like Miles Davis and John Coltrane to the mix and gave rock n' roll a much more complex structure. It made it possible to play more than three chords.

There's always going to be a percentage of the kids out there who want to hear people who can actually play and sing.

We were either listening to jazz or Robert Johnson, the old blues man, but not to our peers.

Putting together two powerful sets is always difficult. After you really pour it out one night, it's hard to pour it out the next night.

If there's anybody who knew how to play in a studio, it was Duane Allman.

Listen to John Coltrane. When he plays 'A Love Supreme,' that guy is totally into himself.

Donald Trump has been horrendous, saying things are bad because of Muslims or Mexicans. This is exactly what happened in the 1930s in Germany, and it's gonna get worse.

We never thought that we would be more than an opening act.

It wasn't unusual for an Allman Brothers record to cost $300,000.

I love Lucille Ball. But you don't call that Shakespeare. It's just entertainment, you know. And if you like that, then go have a ball, have fun.

I loathe and detest heavy metal.

We have a well and a garden. I crawl around in the mud and grow great vegetables.

I like some things other people don't like, and they like stuff I don't like.

Nobody is playing music like this, like the Allman Brothers, and there's still a lot of fans out there, so that's what we're doing with Les Brers.

I have the distinction of being the only member of the Allman Brothers who has never missed a single show. I have played every single show the Allman Brothers have ever played.

Once we started headlining at the Fillmore East, we were free to play all night, at least for the second set. 'Whipping Post' could get lengthy.

Of all the songs we played, 'Statesboro Blues' was the most ripped-off.

I'm enjoying the hell out of playing straight. It seems to be the case with everybody. We're having a lot more fun. The energy is going into the music now, instead of all the side trips we got into in the '70s.

I've never thought too much of 'Rolling Stone.' The first thing I'd do is look at about 50 or 60 of the drummers they have ahead of me and go, 'Oh yeah, right!'

There are so many good, young bands out there who aren't getting the attention they deserve.

That was my first love growing up - classical orchestral music, especially Impressionism.

I take my laptop with me on the road. When I come home, I log onto AOL, go to the Web site, and answer questions.

When we started the Allman Brothers, it was all about the music.

Back when Napster first came along, I started telling everybody Napster was like shooting yourself in the foot because you're stealing music. The record companies don't pay for us to make records - the bands do.

I'm not going to keep my mouth shut.

When I play, I stare at the left hand of whoever is playing lead. And I get to know what people are playing well enough that when they start going somewhere, once they arrive, I'm already there.

To be honest, I don't listen to much music! I've been so engrossed in it my whole life that when I drive around in my car, I'll listen to college lectures on philosophy and literature and world history, things like that, to kind of catch up on the college experience I missed.

These people that dress up in spandex trousers with all the extraordinary makeup - I find it incredibly repulsive, always have.

With The Allman Brothers, we made two studio records that were OK, but the first really great album was the live one, 'At Fillmore East.' We were a live band, and it's one of the reasons we were able to stick around for 45 years.

A lot of these guys come up and say, 'Man, you were my influence, the way you thrashed the drums.' They don't seem to understand I was thrashing in order to hear what I was playing. It was anger, not enjoyment - and painful.

The only way a musician can express feelings is playing.

A jam means it's not structured - let it go. Let it go here, let it go there.

Our approach is more the jazz approach, where you learn to play your instrument as well as you can, develop your craft, and then communicate with each other. That's the focus, not trying to give some message or entertain or have a good light show or whatever.

There will always be kids in every generation that understand that Lady Gaga is not music, it's theater.

When we started Allman Brothers, Atlantic Records kept telling us there was no way it was going anywhere.

The music became secondary to being rock stars.

I'm boring as hell. I just sit around and talk philosophy.

I feel like the Cal Ripkin of rock n' roll.