Still Alright Quotes

“yachtornyacht.com, the Yacht Rock intelligentsia ranked hundreds of songs by their “yachtiness,” and I ended up associated with four of the top six, including the overall No. 1: which is the Doobies’ version of “What a Fool Believes.”
― Kenny Loggins, Still Alright: A Memoir

“Blue Sky Riders?”
― Kenny Loggins, Still Alright: A Memoir

“I could see the Champs, and a few of the crew guys lit us with flashlights. I sang “Footloose” again, and “Love the One You’re With.” The crowd ate it up, and it was just as magical for me. You can find amateur clips of it on YouTube.”
― Kenny Loggins, Still Alright: A Memoir

“It turned out the recording he was referring to was my duet with Michael McDonald on Outside: From the Redwoods. Okay, now we had to scramble. The promoter had a copy of the CD with him, so the guys and I worked it up at sound check, with me handling both vocal parts, mine and Michael’s. I slotted it as”
― Kenny Loggins, Still Alright: A Memoir

“Country music has always honored a sad story, and I certainly had one. I spent three weeks there, and the songs I came up with turned into my How About Now album. I call it my divorce record.”
― Kenny Loggins, Still Alright: A Memoir

“I still made a few arrangement changes, like adding a churchy R&B vocal section to the vamp out of “Peace of Mind,” and even a guitar solo on “Vahevala” that I played myself. I mention that solo in particular because Jimmy was always L&M’s lead guitarist, and he generously yielded that space without a fuss. It was something I’d always wanted to do, but never had the confidence to try. The most memorable”
― Kenny Loggins, Still Alright: A Memoir

“I performed “Footloose” with Blake Shelton at the Country Music Awards, and sat down for an hour’s interview with Dan Rather.”
― Kenny Loggins, Still Alright: A Memoir

“Lessons Learned on the Path of Love. It’s about how to be present and transparent in relationship, which I’d never been. I really thought (extremely naively, I must admit) that I’d discovered the keys out of hell, and was eager to share them.”
― Kenny Loggins, Still Alright: A Memoir

“I reunited with Jimmy Messina (as well as John McEuen, the banjo player from the Nitty Gritty Dirt Band) on the Beatles song “Two of Us.” I also revisited a song I’d written as a teenager for my dog Moose. Once called “Moose Is a Good Dog,” it was recast as “Moose ’n’ Me” for All Join In. Cody sings lead on that one. I thought the album was great, but one thing neither Agnew nor I had counted on was that I was at an in-between age in my life: young parents hadn’t grown up with my music, and my ingrained fan base”
― Kenny Loggins, Still Alright: A Memoir

“All Join In is now available on my website.”
― Kenny Loggins, Still Alright: A Memoir

“Outside: From the Redwoods album,”
― Kenny Loggins, Still Alright: A Memoir

“What I did not expect was for him to pick up a saxophone almost immediately and play along on “Your Mama Don’t Dance.” (“What key are we in?” he asked Pack. “B-flat, Mr. President,” David said. And we were off.) I must admit, jamming on “Mama” with the president of the United States was not something I ever anticipated would end up on my résumé. I’m happy to report that POTUS handled his horn with aplomb. After”
― Kenny Loggins, Still Alright: A Memoir

“Leap of Faith” was one of the first songs we recorded, and on the initial master it was just me, guitarist Guy Thomas, and Randy Jackson on bass. (Randy would eventually become my A&R guy with Columbia, starting with my very next album.)”
― Kenny Loggins, Still Alright: A Memoir

“A month later we met again, this time at his other home in Mill Valley, just across the Golden Gate Bridge from San Francisco. There, we wrote two songs together: “My Father’s House” and the melody for “Will of the Wind.”
― Kenny Loggins, Still Alright: A Memoir

“It worked so well that a few of my friends and even my kids asked if the female voice was Julia. It was that intimate.”
― Kenny Loggins, Still Alright: A Memoir

“THE SIXTH TRACK on Leap of Faith, the ballad “I Would Do Anything,” features Sheryl Crow singing a boy-girl duet with me. That seems like a big deal in retrospect—Sheryl has since won nine Grammys and sold tens of millions of albums—but at the time she was just an LA studio vocalist with a soulful, Bonnie Raitt kind of quality. I was impressed by the versatility of her voice, and ended up directing her to sing with a sweet innocence, like Kate Bush did on”
― Kenny Loggins, Still Alright: A Memoir

“Garth told me that “Standing Outside the Fire” was definitely influenced by “Conviction of the Heart,” that he loved my song, that I did a great job, and that he’d wanted to write a song just like it.”
― Kenny Loggins, Still Alright: A Memoir

“We finished the song in one night. It’s called “The Real Thing,” and it was only the beginning of what was to come on Leap of Faith. By the time the record came out, I was on my way to being divorced.”
― Kenny Loggins, Still Alright: A Memoir

“Leap of Faith came from an intensely personal place. The record opens with the breakup of my first marriage and ends with the hope and excitement of what would become my second.”
― Kenny Loggins, Still Alright: A Memoir

“That song was “Vox Humana,” the first track on my 1985 album of the same name.”
― Kenny Loggins, Still Alright: A Memoir

“The words I wrote that night would become the song “Sweet Reunion”: “In the moment I first saw you / I could swear that we had met / The look in your eyes was so familiar / Where and when, I forget.”
― Kenny Loggins, Still Alright: A Memoir

“About twenty minutes later I pulled into Pfeiffer Beach at Big Sur. I could hear the waves rumbling through the darkness, and hiked through the moonlit scrub pines and sage toward the water. It was all I could have hoped for. The beach was small by the standards I’d grown up with in Southern California, maybe a hundred yards long, and was unlike anything I’d ever seen. The rising moon gave the low cliffs behind”
― Kenny Loggins, Still Alright: A Memoir

“My other video from the Footloose soundtrack, “I’m Free (Heaven Help the Man),” was a big production number. We shot all night long, and it was exhausting. Unfortunately, it was one of those videos in which I had to semi-act. Not good. The female lead was played by a young Virginia Madsen in one of her first ever screen roles. The director took the song title literally, and set up a scenario in which I escape from prison to find”
― Kenny Loggins, Still Alright: A Memoir

“My peak 1980s look might have come in my “I’ll Be There” video, in which I wore an oversized salmon-colored suit with huge shoulders. My hair was short compared to my L&M days, but it had never been bigger thanks to gallons of hairspray. El DeBarge was in that video, too, and brought a strong ’80s game of his own. My wildest video was for “Vox Humana,” set in an art gallery featuring a bunch of paintings that come to life—all of me. Rather trippy,”
― Kenny Loggins, Still Alright: A Memoir

“For the closer, they gathered a bunch of us together onstage for a rendition of “We Are the World.” The main thing I remember is Patti LaBelle’s voice; she flat-out soul-screamed into her microphone. It was overwhelmingly loud. There must have been a dozen mics onstage, and the sound folks were probably freaking out trying to figure out which one she was using so they could turn it down. They never did find it, and she screamed all the way into the fadeout. She left no air in the song for the rest of us to breathe. I was kind of annoyed in the moment, but in retrospect it’s hilarious. I couldn’t stick around afterward because I had to get to Nashville for a gig the next night at the Grand Ole Opry.”
― Kenny Loggins, Still Alright: A Memoir

“I went on after Tom Petty. My band and I were there to play one song: “Footloose.” I guess that’s all you get when you have one No. 1 to your credit, which at that point was barely a year old. We could play that thing in our sleep, so even in front of that many people there weren’t many nerves involved. Chevy Chase was doing the introductions. Just before I went on I heard him ask Graham, “What should I say?” The promoter responded with one line: “Call him Mr. Footloose.” So that’s what Chevy did. Like I said, you do what Mr. Graham tells”
― Kenny Loggins, Still Alright: A Memoir

“Quincy Jones were spearheading to raise money for famine relief in Africa. I’d never met Quincy, but he’d once called me up to tell me how much he loved my song “The More We Try,” which, okay, was”
― Kenny Loggins, Still Alright: A Memoir

“Nonetheless, “For the First Time” ended up as No. 1 on the Adult Contemporary chart, was nominated for an Academy Award, and I got to perform it at the Oscars.”
― Kenny Loggins, Still Alright: A Memoir

“In 1996, I recorded “For the First Time” for the George Clooney–Michelle Pfeiffer movie One Fine Day. The song was brought to me by Don Ienner, the president of Columbia Records, and soon thereafter we learned that Rod Stewart also wanted to do it. I’m not sure what kind of sway Rod had, but we both ended up recording versions of it. They picked mine, but only barely. The director was so set against using pop music in his film that he put the song at the end of the closing credits, so it played only after everybody had left the theater.”
― Kenny Loggins, Still Alright: A Memoir

“I did songs for a couple of Sylvester Stallone films, including “Meet Me Halfway” (also written by Giorgio Moroder and Tom Whitlock) for the arm-wrestling movie Over the Top, and a duet with Gladys Knight for Rocky IV called “Double or Nothing.” In 1988, Jon Peters asked me to write the theme song for Caddyshack II. I did, and “Nobody’s Fool” hit No. 8 on the charts, making me the first male solo artist with top-10 singles from four different soundtracks. I’ve been told many times it was”
― Kenny Loggins, Still Alright: A Memoir