The American Music Awards mean more to us; that's a people's award, and we're a people's band. The Grammys are the critics.

When you're on tour with the band, it's a different mentality. You don't sightsee because you're making sure you can do the show. But in musicals, I don't have to sing or play: I just have to use my brain, and the rest of the time, I'm free.

When it comes to writing musicals, you write the best piece you can. Then, its destiny is in the hands of the actors and the director.

I love my band. I love to play. I love to write.

I just write the way I feel, and if it feels good to me, hopefully everybody likes it.

I'd say that 98 percent of the bands we've played with through the years have either broken up or are stuck in some kind of '80s revival now.

Musicals weren't on my radar.

In rock n' roll, there are notes that aren't like notes. They're something in between, and it's the way you scoop into it.

I like to see other bands, and I like to hear their songs, but I really like it when they engage the audience.

When I'm playing in the band, I'm sweating - giving 120 percent.

Any honor is an honor. You can't really say which one is better than the next, but it's always wonderful when you're honored by your peers for your work.

We strive to have new records. We strive to have new songs on the radio. That feels good that we can gain those new fans and still bring out our fans that have been with us for some of the ride or all of the ride.

'Memphis' lives in me, and I'm bringing it around the world.

The Broadway run of 'Memphis' has been like going to the moon. It was so great to actually open at the Shubert Theatre and then amazing to be nominated for eight Tonys and attend all the luncheons and events.

There's no glamour in stupid mistakes.

I think 'Slippery When Wet' was the turning point, where our records represent our energy that we do live.

On stage with the band, your destiny lies in your own hands.

You start out with your eyes wide open, and you've got dreams, and we worked really, really hard, and ours came true. So - and we're fortunate enough to keep putting out number one records, and we're fortunate enough to get out there and keep playing, and we truly have a blast.

Before 'Memphis,' I had never considered working on a musical. But when Joe DiPietro sent me the script, I heard the entire score in my head.

I remember that poster of Led Zeppelin with the plane. I had it on my wall when I was a kid. I thought that was the coolest. It amazes me that it came true.

I love the Memphis sound. When I was 16-and-a-half, with my driver's permit, I was playing New Jersey clubs in a 10-piece band; we had a horn section and would play great, great songs like 'Hold On! I'm Comin'' and 'Knock on Wood' and 'Midnight Hour.'

I went to Temple Emanu-El, and my rabbi, Rabbi Landsberg, was a huge influence on me. When I was 7 and went to kindergarten, there he was, a young rabbi who didn't wear a yarmulke and rode a motorcycle.

My muse has always been the piano.

We don't want to just be known for what we did. We want to be known for what we do and what we did. We've been highly productive since 2000 when 'Crush' came out.