Quotes About Band

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.

The most significant bands I played in when I first got to New York were Bobby Watson's band, Roy Hargrove's first band, Benny Golson's band, Benny Green's trio, and probably the most significant out of all of those, for me personally, was playing in Freddie Hubbard's band.

I actually knew Sully's sister, and I was in a band called Stripmind, and then I became roommates with Sully and being out of a band, he asked if I wanted to join in his. Tony was originally the second guitarist in the band; a guy by the name of Lee Richards was the first. The rest is pretty much history.

I had a ten-piece band when I was 21 years old, the Bruce Springsteen Band. This is just a slightly expanded version of a band I had before I ever signed a record contract. We had singers and horns.

When I was in high school, The Dave Matthews Band was a local band, and that was the first time I was starting to connect with a live band that was something that wasn't on the radio or TV.

I'm in a funny position: I've been in one band in my life and that was with my brother. As incredible as that has been, I feel like I'm missing out a little bit on being in a real rock band - or how I imagine being in a real rock band to be. It's like being in a street gang: you all wear the same leather jacket or whatever.

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.

The thing about this band is that every member of the band is a song-writer so that takes some of the pressure off.

Whatever our personal differences are, there are no bigger fans of this band than the people who are in this band.

I mean I like pop music, and I like heavy music and, stuff that I like... the band I've signed on to our label right now; they're called The Sounds. They're kind of like a new-wave pop band.

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.

The whole punk scene is, of course, responsible for the Go-Go's ever getting created. Because before punk rock happened, you couldn't start a band if you didn't know how to play an instrument. But when punk happened it was like, 'Oh, it doesn't matter if you can play or not. Go ahead, make a band.' And that's exactly what the Go-Go's did.

The difference between Tinted Windows and Hanson shows is a lot of just repertoire. Hanson has been a band for years - we have a lot of songs to pull from and it's a different dynamic - a common kind of thread. With Tinted Windows - it's kind of a little like "hey, we're this new band."

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.

I remember the day we were hanging around the band's commune and Roger came in with the press kit for a rock band (Moby Grape) any of us had ever seen. It looked psychedelic, yet it was done by ad people. I believe the word "hype" was coined on that very day.

At Carnegie Hall the Preservation Hall Jazz Band showed how easily it could hop from era to era. It could work like a rhythm-and-blues horn section or a tightly arranged little big band if need be, but it could also switch back into the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time.

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.

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.

What we've noticed is that people latch onto our music, and are very, very supportive of it, even almost defensive about it. Quite fanatical, some fans, aren't they? Just like they are in England, once they get a hold of "their" band, they don't want their band to get too big anyways.

The main reason we didn't break up is because we weren't really a college band. We were just, two dudes who were messing around with music. We never played off-campus except for once or twice. We never had any ambitions to make it as a band after college, or anything like that. So that probably worked in our favor. We never took anything seriously, we still don't!

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.

A learning experience for sure. You're always learning in this business. How to work with people and how to handle your band on a professional level. How to stick up for your band and do what you think is the right thing and to know when to let things happen against what you think is best. It's challenging but it's been a good thing for us, no doubt.

My musical background in Tyler, Texas was quite outstanding. Uh, I grew up with, uh, with high school teachers who were in bands, they could play music. And we had a nine piece band there in Tyler, and I joined them when I was about, oh, 15 years old and traveled all over Texas in that band, playing for the elite oil people. Hah. And um, I was making about 50 bucks a night, and uh, it taught me, they taught me how to find my timing and to learn the songs that I wanted.

And then we came here for three weeks of band rehearsal with [music consultant/member of the band "Sloan"] Chris Murphy. And I grew up in Toronto during Sloan's heyday, so like I was like "Oh my god!" And so that was pretty cool.

I saw an article where the manager of the Pussycat Dolls, which is kind of this like striptease band, girl band, said, oh well, the girls are totally third-wave feminist. This is what third-wave feminism is about. Like you don't get to use that word. You don't get to say that something is feminist as a way to sell back sexism to women, as a way to further consumerist ideas.

It kills me when I see some metal band trying to pass themselves off as an 'alternative band.

With my little band, I did everything they did with a big band. I made the blues jump.

This is my dream. I ain't giving up. I see a band like the Red Hot Chili Peppers, and they've had their ups and downs, but they've continued with heart. We look up to that. I see Papa Roach being around for another 15 years. We've always wanted to be a career band.

As a result, I had to get my own playground which was my band Colours. This band lasted for about eight years and then the air was out of it and it was time to finish.

Down is an incredibly important band to me. And there's one other project that may be a little tough for people to understand - it's not sonically heavy, but subject-wise it's absolutely heavy. It's a band that I've been in for many, many yearsm and I've just been waiting for the right itme, and boy, it sure is the right time. So, yeah, you will hear music from Philip Anselmo again, and it ain't gonna be nothing nice.

I have total respect for anyone who discovers a band like Snow Patrol. I would be hopeless at signing a rock band, or anything alternative, cause I don't know what that audience are into and I don't particularly like that kind of music.

I was going to record a solo album when I was 15 on a four-track. I started working on it, but then Fall Out Boy happened. The band was awesome and took me in a totally different direction. I don't regret it at all, but the band delayed the record I had been planning.

Instead of just being a band that's constantly replacing members, we figured we'd done all of the stuff we wanted to do. It seemed to make sense to see if we could live our lives without the band.

When I reissue these Minimal Wave Record songs, I also re-master them. With Oppenheimer Analysis, it turned out that the band still had the master tapes. So, Martin Lloyd from the band and I baked the tapes to restore the quality.

A song is what you fall in love with first, but then I think a band's ideals and a band's sense of fashion and a sense of how they treat people is what you fall in love with afterwards.

What happens in the band room stays in the band room.

I enjoy making music alone, and I like keeping my options open for how I release my own songs. But everybody in Grizzly Bear is full of ideas. So it's kind of boring to come to the band with a complete song and be like: "Here's what I want you to do." With this record, we wanted to make everything feel like everyone - music that we could never do on our own. That's a real gift, and it's one of the best things about being in a band like this.

I like dark music and I want to wear those goth clothes in school. And I suddenly discovered this whole world of music that I totally loved. The Cure was my favorite band, even though they're not specifically a goth band. I was listening to everything from The Cure to Depeche Mode to Siouxsie and the Banshees and Bauhaus and all of that stuff. It was just this release for me. I was able to channel a lot of my loneliness and my feelings of being misunderstood, and I could go into this world where it was okay to be really eccentric.

Throughout my whole life, as a performer, I've never played with a band. I've always played alone, so I was never required to stay in rhythm or anything. So it was a real different experience for me to start playing with a band. There were so many basic things for me to learn.

It's terrifying to play your favorite band's song in front of your favorite band.

I wasn't looking to be an Indian brass band, but to be a band that reflected my complete identity as an American. The America I was born and raised in intersected with people of all ethnicities and beliefs and that, coupled with my parents' instilling of good values, made me the individual I am now. Within Red Baraat, there are varied musical backgrounds and personalities and that lends itself to many great thoughts and ideas; it's what makes social science, or more precisely, social interaction so interesting to me.

There's people that say “It's not fair You have all that stuff.” I wasn't born with it. It was a horrible process to get to this. It took me my whole life. If you're new at this- and by “new at it.” I mean 15 years in, or even 20- you're just starting to grow traction. Young musicians believe they should be able to throw a band together and be famous, and anything that's in their way is unfair and evil. What are you, in your 20s, you picked up a guitar? Give it a minute.

There will be a Led Zeppelin as long as there's a Jimmy Page, John Bonham, John Paul Jones and Robert Plant. This isn't a nostalgia band playing the hits forever. If anything ever happened and somebody left - which I really can't see happening - I don't think we'd bother to carry on. The magic for me is as it is now.

I've got quite a big gay following. I played a lesbian prostitute in the TV series 'Band Of Gold' but I think my following really grew when I played one in the film 'Imagine Me & You,' with Piper Perabo.

We've gotten better at shooting down routine material or stuff we feel like we've done better in the past. Getting different people in the band for periods also keeps it from going stale.

Blackheart Records being 25 years old represents staying power and the fact that we weren't able to get a record out through conventional means, so we had to create this record company to put out our records if we wanted to be a band that had records to give out to their fans.

There are a lot of disadvantages with the YouTube stigma, because no one wants to be known as just a cover band. It's all about the original music.

The first time I ever went to Chicago was with Zappa and I had a fantastic experiences with him and every other band I've played with. It's a great music town.