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.

Hopefully people can look at our band and see that we're a heavy rock band. We're definitely not a metal band, but we're a band that focuses on meaningful lyrics and melody.

We went from being thought of and talked about as "a band that plays a so-and-so style of music" (a grunge band, a stoner band, etc) to "a band that plays music with a certain sensibility or style to it". I'm not able to see quite what that is, but it's there and some people like it a lot.

Every good band in the world was a cover band first. The Beatles were and the Stones were. Everybody was a cover band.

When I'm representing my music live I think of it very much in a rock band sense. When I first started doing festivals in the 90s there really weren't other DJs playing the stages I was playing. So I felt I was being afforded an opportunity to kind of make a statement about what DJ music can be live. In the 90s, if you were a DJ you were in the dance tent, and you were playing house music and techno music. There was no such thing as a DJ - a solo DJ - on a stage, after a rock band and before another rock band: that just didn't happen.

When I heard the Pixies for the first time, I connected with that band so heavily I should have been in that band - or at least in a Pixies cover band.

I've accepted the fact that Limp Bizkit is my band, one that I'm a part of, a band that I've built from the beginning. It does me no good to be in somebody else's band playing their music, like Marilyn Manson or Korn. Being in Limp Bizkit allows me to be myself.

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.

I'm seeing myself as an outsider a little bit - definitely when I started the band. I knew what band's name meant and nobody else really did, so I'd be on stage every night and say, "Hello, we're Art Brut" - basically saying that we were rejects. But I mean, I didn't really sing, it did feel a bit like we were outsiders. It was a bit tongue-in-cheek when I first named the band that, but then we slowly turned into that - like a self-fulfilling prophecy.

I think that everybody that's coming out to Warped Tour, when they come to see the show, they're always like; let's go see that band that band that band and... that girl. I think that I tend to be that girl sometimes and I think that it's cool that I get to hang out with this Summer camp of smelly boys.

We just were a band one day. We woke up and in the morning we were a band.

Phish is such a good band; they just make stuff up as a jam band.

I'll come in with a string of riffs and direct the musical ideas. But you still need a band and their input to make the ideas come alive. You can't underestimate band chemistry.

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!

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.

If you're a good band then the filter of the band is pretty strong.

Mysticism is concerned primarily with moving our awareness field from the beginning of the band of perception, the human band, up to the enlightened bands of perception.

You have to figure out as a band how a band becomes a business, and then you have to keep that business mentality separate from the creative one, which is good for the songs. It's always a work in progress.

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.

Well, I was in a band. I was the singer with a band called the Soul Satisfiers. I sang then quite a bit of Jazz and some Top 40 stuff.

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.

A lot of things just got distorted, like stories about each other. After the tour we never talked. I believe a band should be a band.

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.

Sometimes I would go on Sundays and play with Doc Cheatham. I was also playing in a band of teenagers led by Don Sickler called Young Sounds, and The McDonald's Big Band led by Rich De Rosa and Justin Di Cioccio. All those guys were great educators and musicians and taught me a lot! Simultaneous to all this, another one of my musical fathers came into my life, Eddie Locke.

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.

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.

Kiss is the number-one American band in gold-record sales. In the world, only the Beatles and the Stones are ahead of us. Every other band should be wiping my ass. The line forms over there to the left.

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.

Yeah, sci-fi is definitely a big influence on Fear Factory. I've had people tell me we always sing about the same thing but it's like well, if we were a black metal band we'd sing about Satan, you know? What if we were a Christian metal band? All the songs would be about how much we loved Jesus.

"Anybody have money?" Frank checked his pockets. "Three denarii from Camp Jupiter. Five dollars Canadian." Hedge patted his gym shorts and pulled out what he found. "Three quarters, two dimes, a rubber band and - score! A piece of celery." He started munching on the celery, eyeing the change and the rubber band like they might be next.

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.

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.

The Replacements definitely changed my life, I think they're just amazing. The thing that blew me away [a band like that] is that you'll get into a band from hearing one interesting song and then you'll realise that you've got seven or eight albums to listen to afterwards and every single one of them is a great record. The Replacements definitely changed my life.

REGARDING THE MARCHING BAND: How much more interesting it would be to see a creeping band.

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

I actually think the band doesn't need the television show. And I actually think the television show holds it back. No one at radio wants to play a band that's on a television show.

I used to split my time between writing, music and painting. I would work on a book and then abandon it, start a band, do an album, quit music, then do a gallery show. Eventually I decided to give writing a serious shot.

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.

Rock n' roll is over, don't you get it? It lasted 25 years and now gets wiped out. The Sex Pistols were the bullet in the brain. They were the last rock and roll band.

The course of the line we indicated as forming our grandest terrestrial fold [along the shores of Japan] returns upon itself. It is an endless fold, an endless band, the common possession of two sciences. It is geological in origin, geographical in effect. It is the wedding ring of geology and geography, uniting them at once and for ever in indissoluble union.

I think I've always felt as a band and as a musician and a music business person, I've always felt like an outsider, period.

I think it's stripped down as far as electronics go, but we just wanted to write a record that we felt better represented how we sound live with more of a rock feel, which is the direction we've been heading. It's just an evolution of the band throughout the years. We worked on this record longer than any other record, so I don't know if "stripped down" is how I would put it; I think it is a little bit more raw sounding.

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!”

China has to move to a more flexible foreign currency trading system, no question about that. You might see two or three moves to widen the band, say to 0.5 percent.

It's really easy, in a band, to overstate - you feel like everything you do is different than the past. I think this is just another Hold Steady record, but at the same time, there is some evolution. Like, "How can we make this chorus bigger?" "What do we want this to sound like?"

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