Quotes About Band

My dad was all about music. He was a musician, leading a band when I was born. His band was active all through the 40s. He'd started it in the late 20s and 30s. According to the scrapbook, his band was doing quite well around the Boston area. During the Depression they were on radio. It was a jazz-oriented band. He was a trumpet player, and he wrote and arranged for the band. He taught me how to play the piano and read music, and taught me what he knew of standard tunes and so forth. It was a fantastic way to come up in music.

So, we went from being an Athens band to being a Georgia band to being a Southern band to being an American band from the East Coast to being an American band and now we're kind of an international phenomenon.

I was two years old when I told my mom I was going to be in a band when I grew up, and I was four years old when I started my first band with my neighbors. Before I knew how to do anything, I was figuring out how to be in a band.

I enjoy playing the band as the band. I be the whole band and Im playing the drums, Im playing the guitar, Im playing the saxophone. To me, the most wonderful thing about playing music is that.

I consider us to be one of the first Internet-based bands, especially because we basically started our entire band via the Internet. Before MySpace Music even existed, we had a band MySpace page. We were one of the first fifty bands on PureVolume(.com), and we really built everything from the Internet. That's how we started talking to record labels, that's how we booked our first tours. Without the Internet social networking, like Twitter, we definitely wouldn't be where we are today. It is a huge part of the band.

A lot of the music is the kind of thing I grew up with, listening to it with my parents. So there was a band in London called the BBC Big Band, and I sang with them. And I had never done a big band before, and it was just so fantastic and I had such a good time...so that's how it all came about

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 band set up in January and just started rehearsing. If there was a song, we'd just rehearse it as a band, and it would get arranged as a band, and it got changed around a lot.

It was an important period for us, because even though we weren't a "punk band", and what became a model for a punk band, we were able to be dragged along by the spirit of that time.

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.

Mac Rebennack, better known as Dr. John, once told me that when a brass band plays at a small club back up in one of the neighborhoods, it’s as if the audience—dancing, singing to the refrains, laughing—is part of the band.

Even when I'm touring, I feel like a sideman ... everybody's working together. We get to play longer solos; it's not just "Here's the record! Thank you for coming Goodnight" ... it has always had a "band" feel instead of being a singer and his backup band.

I was in one bar band from 1965 to '69, then I was in another one from 1970 to '79 - a 9-year bar band!

Michael Sunday and I are the original members of the band. We first did it just for charities and benefit concerts. It was very ad-hoc, and before we knew it, we were really a band. We went through several drummers and guitarists before we were happy with the line up.

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.

There's a great rock and roll scene in Sweden. There are many smaller bands like ourselves that are great. Oh yes, there's a band called Eggstone, they're really good, and a band called the Soundtrack Of Our Lives, which is excellent.

Due to people's health, and certain things that have happened to people's physicality because of their healthy, that would probably keep us from touring per se. It doesn't mean that the original band wouldn't someday do a song. But our focus is on the current band, and moving into the future, as far as touring is concerned.

I was a huge fan of this band called Sparks. It was a pretty good inauguration to music since their music is quite complex. They were a little glammy, and me - being a kid and not really understanding the complexity of grown-up lyrics - I took the best out of it. But at the same time, it was mysterious enough and too far away from me for me to really be able to reach it. But they were my first love affair in the world of music. I loved that band.

When I was growing up, until I was 18 or 19, I was totally invested in the classical music world. I had no concept of anything else. The closest thing to a cool band I listened to was Radiohead. Radiohead were the only band I liked in high school. I was just obsessed with classical music, opera, Claude Debussy, and that kind of stuff.

Average band with a great drummer sounds great, great band with an average drummer sounds average.

The first time The Runaways played in Britain, Joan Jett wore my bullet belt onstage. The Runaways were really the first all-girl band to really strut their stuff and say, "F**k you." "Cherry Bomb" was the best song for a girl band to sing. It was just outrageous at the time. There were American families sitting on the sofa watching television going, "F**k me." It was great fun.

I think the Internet really sussed things into perspective. Because twelve years ago, I could spend my days on writing and running my band and touring and making posters and practicing with my band and working on my vocals, but I didn't spend a large pie chart of my time sifting through criticism as well, and nowadays I do, and all female artists do, because to be able to promote your work, you need to live in those spaces.

A lot of bands don't really like each other. I read an Interpol interview the other day, it was a really good interview because it was showing a different aspect of a band. They don't really like each other - they work together and they kinda exist together and that's how they like it. They're like, "we didn't get into this band looking for friends."

Well, Peter Rowan and I had plans to form a band when he left Bill Monroe. I always thought it was going to be a bluegrass band, but I guess when Peter left Bill Monroe he had had enough of bluegrass. He had written some songs and of course the Beatles were a big influence back then. So, we decided to something different and it ended up being that.

All your travelling is together, you eat together, you're on stage as a band together, when you get to the sound-check the band and the crew are all together.

It isn't a band. It's bigger than a band. It's a lifestyle

A weird thing about Gossip that I've always said: "If I weren't in this band, I would never listen to it." But I would go see it. It's a band you would go see that you don't necessarily listen to.

I was the drummer in a band called Hemsworth for a brief stint, too - it was not very great. I didn't even write the songs, but the band was named after me.

Imagine someone so infatuated by a band that they have every different pressing of every album the band made. Most of the time, the only difference in the album is the matrix number or a different 'made in' notation on the back cover or label. This is enough to make some people extremely excited. Actually, much more than excited.

We care about equality and democracy within the band and outside the band. For us life is about cooperation and solidarity, not about egotism, greed, or competition. This means that we prefer to work with people and bands that have a similar sort of mentality and attitude.

I think first huge gay following started out with our keyboard player Jesper Anderberg. When he joined the band we were still in high school, and he was two years younger than us. He has a really boyish look, so all the gay guys fell in love with him straight away. We have a couple of cute guys in the band, and we play that kind of music that will go in a club. And I was dating a girl for a while - that might have something to do with it.

I keep telling Ron Lorman and them in the control room, "It's my band! The reason I have a band is because I can't stand for somebody to tell me what to do."

I think we're a little bit protective in that way. You're always trying to balance between what's spreading the word about the band and what's good money and what's a shitty look. Is this good for the longevity of the band? Do people even care these days? We care, but do we care more about the money? We've had a lot of discussions about things. It gets us into a lot of fights, but it also makes you question your own morals in a really good way.

The rewriting is always crucial to what I do; whenever I do a scene, I always tell myself that this isn't final and that I can do it again, better. The pacing is probably from experience. I've always liked gradual disclosure. I keep thinking of my rubber-band theory. You have a rubber band that you keep pulling and pulling and pulling, and just at the moment of snapping you release it and start another chapter and start pulling again.

You can kiss my Kiss-loving ass because Kiss was never a critic's band. It was a people's band.

When you're in a band that's so big when you're young, you kind of lose your identity a little bit. You just become part of the band. I just needed to get away from it.

I've got the big name, but I've always wanted to be in a band, one of a band.

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

While I was into many different types of music, and played with many different local groups, I really didn't have a band to call my own until Dire Straits was formed in 1977.

There are five of us. We've all played in various bands together, in different combinations. I know that Todd [Cook] and Tony [Bailey] are my favorite rhythm section - they're just like a unit. I guess we've all just played together in various capacities, so when the band was coming together, it was sort of like we just chose members because they had similar sensibilities and also because they're just cool. We all got along real well.

Fleetwood Mac are more like a folk-rock band.

Some people even went off to form another band, Power Station.

Ironically, when I was playing in my first band, I would deliberately not write down any lyrics. I have a really good memory and I would just keep them in my head.

I've always thought, "I could probably write one of these country songs and send them to these places and make up this fake country band. Wouldn't it be awesome to have a completely parallel career and have nobody know about it?" I think I could get away with it. I'd be the guy from Oklahoma with country cred.

I've always chosen my band members based on their sense of humor. It might sound stupid, but it means not only are they fun to live with on a tour bus for years, but humor implies intelligence.

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.

Wrestling is pretty DIY. I've been doing it for 12 years, completely on my own. It's like being in a band or running a zine - except that I get to kick people in the face.

A lot of times, when a band finds success with a certain style or sound, they have a really hard time breaking away from that to grow as artists.