I'm not going to be rockin' n' rollin' when I'm 50 years old. But you can be in your prime on television, compose songs, or write a Broadway play when you're 50.
— Toni Tennille
I am just the most boring person you will ever meet. I'm the good Southern daughter. I'm not outrageous.
My heart is with the standards. That's what I was raised on. I'm perfectly comfortable with pop. I feel lucky because I'm pretty versatile.
I just don't read reviews, because it can really hurt you.
I'm the 'Muskrat Love' girl.
Once you've established yourself with hits that become part of people's lives, then they pretty much always want to see you.
Any woman can be a siren one minute and in pigtails the next. I am a very complex person with more than just the one facet that television played on.
In 1972 through '74, right before we hit it big, we were hauling our own equipment into the club and setting up and playing for, I don't know, a hundred bucks a night.
I was uncomfortable with that kind of fame when you're in the tabloids every day.
My years of ballet and jazz dance lessons didn't make me any more graceful - they just helped keep me from bumping into the furniture on stage.
In 1969, I wrote a musical called 'Mother Earth.' It was a rock musical with an ecology theme. We did it at the South Coast Repertory Theatre in Southern California where I was a member. It was a smash hit in this small theater.
Actually, the year 2000 is our 25th anniversary of doing Captain & Tennille. I can't believe it. It's like, how is this possible?
My mother did play classical piano, not that well. And actually, my father sang with the big bands - he sang with Bob Crosby's band - but he had to give up show business when his father died. He had to come back to Montgomery and take over the furniture store.
The Stones can get out there and do it till they're old men. But certain groups are sad-looking to me.
The biggest surprise to people is that I sang background on Pink Floyd's 'The Wall' album.
There was a period after my first solo album came out that about 50 per cent of my work was with symphonies and big bands. We did the Captain and Tennille as well, but it ended up being about 50-50.
