Quotes About Band

I finally got to junior high and I got to start saxophone. There were a few of us that were in the beginner band in sixth grade that made it to the advanced band, which was called the morning band at our junior high school in Staten Island.

A good analogy is stretching a rubber band. You can stretch and stretch and even feel the tension increase in the muscles in your hands and arms as the gap from one end of the band to the other widens. But at some point you reach the limits of elasticity of the band and it snaps. The same thing happens with human systems.

There's a good sarcasm and a camaraderie that comes after being in a band. And we've known each other forever. We've never been a band that fought or argued. As a songwriter, I'm really happy that the boys support me and contribute and that, but I've always wanted to be under the band Stereophonics.

My first job was in a Bohemian polka band, the Rejcek family polka band in Abbott. The old man in the band had another blacksmith shop in Abbott, but he liked me. All he had was horns and drums, and I was set up over there with my little guitar with no amps or nothing. I would play as loud as I wanted to, and nobody could hear me.

The Smashing Pumpkins was never meant to be a small band. It was going to either be a big band, or a no band.

The most inspiring drummer for me is Stewart Copeland from The Police. The Police are the first band I can remember really liking, and Copeland is a guy who was playing in sort of a rock band, or a rock-pop band, but he didn't want to do the traditional kind of rock drumbeat. He was doing all these kind of reggae rhythms, and the reggae style is almost an exact opposite of the rock mold of drumming.

For me, a great show is when there's a great rapport with the band and the audience, and we're all really into it. The first trick is to bring the audience into the band, break the ice, have a life, and be one, so you can enjoy the next hour and a half together.

My older brother was the guitar player in the neighborhood band. My parents were the cool ones that had the basement for rehearsal. Rather than hang with my peers after school, I wanted to just listen to the band. More than that, I wanted to play.

You don't need to be talented. You don't even have to play the guitar to be a guitar player in a punk-rock band. So I, in a very naïve and teenage way, said, "That's it. I'm going to be in a band."

I've liked music since I can remember and the guitar was always the most attractive thing about music to me at that time. I played guitar in a high school band. I played guitar in various other bands up until I was 20, but nothing too serious. From time to time someone would ask me to play with a group, but I stopped playing with band-oriented projects as a whole soon after.

With the exception of Megadeth, I can't imagine any band we were hesitant about touring with. I mean we liked the original Megadeth, but I can't think of any band we toured with we weren't psyched about.

I'm not going to say I'll never rock with a band, because I'm too much of a fan of the aesthetic of a great band. But a girl group? Not again.

Yeah, after making Pablo Honey, we started experimenting with cloning myself in order to double the band's creative energy. However, the experiment was a failure, and the defective Thom Yorke clone escaped. And formed a band called Muse.

My world was a community ballet school, a marching band, my two sisters and my girlfriends. I played saxophone in the band and was a bit nerdy.

There's something intrinsically Australian about a bunch of brothers and school friends getting together as a band at a very young age and all pulling together as a band at a very young age and all pulling together as mates to make something happen.

The E Street band casts a pretty wide net. Our influences go all the way back to the early primitive garage music, and also, we've had everything in the band from jazz players to Kansas City trumpet players to Nils Lofgren, one of the great rock guitarists in the world.

You either swing a band or don't swing a band and that's what's lacking today.. There aren't any guys who get back there and play with any kind of guts.

When it comes to grunge or even just Seattle, I think there was one band that made the definitive music of the time. It wasn't us or Nirvana, but Mudhoney. Nirvana delivered it to the world, but Mudhoney were the band of that time and sound.

With rock music, it usually revolves around the band. You go in as a band and probably take about a year to record an album. But for a hip-hop song, you can create a track and an idea with verses and choruses in a day, and get three different people on it. It seems like you're able to do more with hip-hop.

We'd started out as a garage band and it became like a huge band, which was fine. But everything was so magnified, drug addictions, personalities, it just became too much.

I have some idea that if I pick on [boy band] One Direction, I'll get a ton of hate mail, because I know that when you're 15, you love a band like you will kill people. But I don't quite realize that that's true about people - adults - who read The Hunger Games.

When Adam's House Cat broke up in 1991, which was Cooley and my band for six years, I put my entire life, heart, and soul into that thing. I mean everything. I ended up getting divorced over it, and then the band broke up and I was left with nothing. I had nothing to show for six years of my life except for a finished record that still hasn't come out. And I went through a pretty deep, dark, two-year depression after that, [which] probably resulted in some of the earlier songs that became Drive-By Trucker songs, for that matter.

I grew up not really listening to guitar players. Especially when I was studying music, I was just interested in piano players and arrangers and composers; I came to playing in a band from the perspective of someone who never expected to play guitar in a band.

I like what's going on in Finland, with the rebirth of Beherit. I also like a band called Oranssi Pazuzu and a band called Spiderpact. There's a great scene there where they don't really care what's going on elsewhere and create music in their own vacuum.

When I showed ‘Black and the Red III’ in Malmö, Sweden, it was a continuum - a band - all around the galleryseeing this huge space in the gallery in Malmö, I just took a deep breath and I put the paper around in a single band. Then I continued along, printing on the wall like a trompe l’oeil to reiterate the images in the work printed on paper that I had push-pinned to the wall. I literally took the rhythm and the images from ‘Black and the Red III’ and continued that on the wall.

In college, unable to be "special" - or in demand - as a girl, I made myself useful, even essential, in my microcosm - as a writer and photographer for the band, particularly for the band director. My "specialness" was to produce something of value, not to look like something (with that different kind of "value"), so I was still fundamentally invisible, but had a significant purpose.

I've never treated anyone in my band like they're not on the same level as me. I'm not that kind of person. In the past, I have disrespected people in my band and that was my weakness. I think some people have a hard time understanding how I think.

Well, a sort of epiphany: I was in a great band. And it's very cool to be at 53 and realise that when you were a kid you were in a great band.

The day Metallica's over, i'm not going to put an ad looking for another band. I'll put my drumsticks on the shelf and there's 14 other things I wanna try. Metallica's the only band I've ever been and it's the only I ever wanna be in.

When you first start a band all you think about and spend your time doing is writing songs, play shows, in the simplest way and the simplest formation of the band. It's about the gear, and that guitar that one day you will buy. It's a beautiful time. I'm grateful for having that time. Then life flips upside down, all of a sudden you are strapped to a rocket ship, you get a hit, then it is tough to keep grounded.

I think ultimately what you really want is a few people within any label that are into the band enough to really work on it every day for a long time and to actually try a little bit. But obviously, the major labels have more money to spend, so if they feel like spending it, they have bigger resources there when you need them. It doesn't always necessarily translate into them doing a better job for a band, but I think especially if you're playing the game of commercial radio and making videos and stuff like that, that's sort of an expensive proposition.

I grew up with the Beatles and they are still to this day my top band played in my iTunes.

You can't live the Christian life without a band of Christian friends, without a family of believers in which you find a place.

The only good grades I ever got in school before I was kicked out were for creative writing. I thought that fiction might be in my future but then my career took a different path once the Beatles showed me what a blast being in a band could be. Writing my memoir Late, Late at Night reminded me how much I love the craft. So I decided to give fiction a shot again.Magnificent Vibration is the result. I’m still not quite sure where it came from, but once I got going, it practically wrote itself. I’ve heard writers I admire speak of that phenomenon, so maybe I’m on the right track.

You just have to work with your discomfort. ... It’s challenging, but you have to dance the dance that the band’s playing. You can’t say: “I came here to Cha Cha and they’re playing a Waltz, godammit!”

Being in a band turns you into a child and keeps you there.

Venom was a band that strongly influenced the image and the idea behind Slayer.

You always come back to Duke Ellington - he's kind of like the thread that holds everything together from the big band descending to lots of jazz, actually.

Years ago when I was in a cover band and we were playing dances, that was quite a different thing. You were there as part of an event. When you're a songwriter, you are the event. So it's a little bit of a different focus.

Unfortunately, you don't get artist development anymore. Record companies have become a huge corporate thing. It used to be you'd meet someone [in the business] and they'd have a little history of music. Some people in the companies now don't even like music. It's just a job. So I miss the days when someone would go out on a limb and pick a band that was different. I just don't see that anymore. It's the same with the film industry.

The Meatbats are a throwback band.

There was one point in high school actually when I was on the chess team, marching band, model United Nations and debate club all at the same time. And I would spend time with the computer club after school. And I had just quit pottery club, which I was in junior high, but I let that go.

My sister and I shared a bedroom our entire lives and I believe she discovered the Beatles when she was about 11 and I'm four years younger. So from the age of 7 until 17 we had nothing but Beatles paraphernalia in our room, even those little stuffed Beatles that went on stands that are dressed as the Sgt. Pepper band.

Obviously I still gig on my own, but I've always heard my music with a band.

BIGBANG is the band that i myself am a big fan of

Our country, the United States of America, may be the worlds largest economy and the worlds only superpower, but we stretch ourselves dangerously thin by taking on commitments like Iraq with only a motley band of allies to share the burden.

Minor Threat was an important band, believe me that it was important it in my life, but it belongs to an era that no longer exists. I'm not nostalgic. I think music today is much more important, because something can be done about it.

It is not very practical in today’s world when you tour all over the place having a big band.