Quotes About Band

It's great when a huge amount of money goes from a dumb corporation into the hands of an awesome band with brilliant ideas who can use it to keep being a band for a year, as opposed to a band that's already huge taking one of those things - that's more pathetic.

When we opened Babbo, we were an indie band. Now we're kinda Apple. We have 19 restaurants and 2,800 employees, we are no longer perceived as the indie band although we think of ourselves as the indie band, and we operate our restaurants as individual indie bands.

Cornelius Cardew very famous in Britain, because he was the darling of the avant-garde, and he played in a band called AMM, which was an improvising band in the '60s. Paul McCartney used to come watch them. Later on in life, he became disenchanted with avant-garde music, because he felt it couldn't reach the public. It didn't have a wide enough appeal. So he'd take these tunes of old English folk songs and write Stalinist lyrics over the top of them. I do think that when he changed to folk songs, he actually lost the tiny audience he already had, which is quite interesting.

Some of the best trades come when everyone gets very panicky. The crowd can often act very stupidly in the markets. You can picture price fluctuations around an equilibrium level as a rubber band being stretched -- if it gets pulled too far, eventually it will snap back. As a short-term trader, I try to wait until the rubber band is stretched to its extreme point.

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.

Toasted Heretic should have been cherished and helped, rather than ignored or sneered at, or put down as "quirky band with an arrogant singer". So I certainly didn't help the band, but the virtues I had meant that we recorded albums when everyone else just listened to them. But, yes, if you could suffer from high self-esteem, then I certainly suffered.

We do what we want to do. We write songs. We try not to repeat ourselves too much. We have our own sound and our own way of doing things. Up until now it has always been enjoyable. None of the members have ever got to the point where they don't want to be involved in it ... It's not entirely possible for me to stand back and look at the Rolling Stones because being a part of it you can't. I wish that I could just sit in the audience for one night and see the show. Everyone in the band has said that at some point. But then you wouldn't be seeing the whole band. And that's the problem with that.

I think what's cool about about going on a co-headline tour is everyone's bringing a huge show, so it's not like opening band, opening band, then here's the big show. It's like two big shows.

The music as a whole is selfish, but the musicians aren't," "The song may go on forever but it's not about competition within the band; it's about playing as a band.

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.

I grew up singing in Kansas. My dad had a band when I was growing up. So I sang in church and school and started singing with his band when I was seven. So I've been singing all my life.

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.

A guitar for me is pretty much strictly in the context of writing songs for my band, coming up with ideas with my band, and then being able to perform those songs as best as I can on stage - that's what the guitar for me has always been.

I wish I could tell you me and my rock band were traveling around, strung out. No, we were a family band. Straight Partridge Family.

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 don't really care about labels that much. I wouldn't really call our music retro. There are influences of things from the past, which there is in everything. I think we're quite a modern band, actually. We don't record with old equipment. We use computers and programmed drums. We don't use any guitar amplifiers. We're very much a modern band in the sense that we love computers and what they can do to music. I guess we're just good at a different sound.

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.

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.

You take all the time to write a song: you have to let it ooze on out by its natural self and that is pretty time consuming. Then you teach it to the band so everybody gets all the parts. Then you rehearse it and road test it, and all that. Then you get to the studio and there is a new guy in the band who calls himself the producer, right? Huh. He either makes it or breaks it usually before nightfall.

Youths write me and tell me that their band will go nowhere because of all the bad bands in the world. I tell them there has always been awful music and that no great band ever wasted any time complaining, they just got it done. Their ropey ranting is just a way to get out of the hard work of making music that will do some lasting damage.

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.

I was in Hollis' band for eight years, playing drums. At one time we had Barry Beckett, Jimmy Johnson, David Hood - everybody but Roger Hawkins. We had a hell of a band.

Yes, but I have to say this: the band is going to decide where the band plays.

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.

Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions. For instance, in the 'twenties the tradition was two or three saxophones

Basically, every band that makes it has some dude with some sense of business. I don't know if our band would've been so successful were it not for Daniel's [Kessler] insight into how things really work. Daniel was the one who was diligently saying, "We should make a demo, send it out, play shows but not too many shows, get on shows with touring bands that are coming to New York."

My dream right now is - and I don't know how to do it, and I don't know if it will work exactly - but just this sort of vague aspiration to start some kind of website where people send in their stories or poems, and me or perhaps some other people turn that into music. And then by the end of the year we make a record and actually put it out. Like a band, but the band is actually a combination of the musician and the fan. I think that's a very 21st-century way of doing it.

My brother was always in bands and on the road when I was a kid and he was my inspiration. He never made it with a big band, in fact he never made a record. Here he is fifty-something years old.

Another factor is that in terms of the original compositions, this is our strongest year yet. Everyone wrote a fantastic piece and everyone really had a greater sense of how to write for this band -- not only for this particular instrumentation, but for these particular players. Each year, the reality is getting closer to the ideal of a collective.

It's hard to say. Whenever you play with a group of people for a long time it influences the way that you play with others. They were all very defining in their own way and all affected the band in one way or another. I don't think they are so obvious in the music. The fact is that The Lawrence Arms is the culmination of a long search of trying to find people who play well as a unit.

By 17, I had a whole band that would go in and play. It was called Spontaneous Inventions, after a Bobby McFerrin album.

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.

None of us has a girlfriend. But being in a band, you meet people everywhere you go. I know mine will turn up one day.

I think of rock 'n' roll as a combination of country blues and swing band music, not Chicago blues, and modern pop.

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.

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 got in the school band and the school choir. It all hit me like a ton of bricks, everything just came out. I played percussion for a while, and stayed after school forever just tinkering around with different things, the clarinets and the violins.

People want you to produce records. They don't care what it took to make it. When a band is out doing concerts, the fans don't want to know about equipment difficulties. They want their hour-and-a-half release, and that's it.

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.

The drummer in my first band was killed in Vietnam. He kind of signed up and joined the marines. Bart Hanes was his name. He was one of those guys that was jokin' all the time, always playin' the clown.

I think when you leave a band in any situation that you are a part of.. I mean, when I was with It Bites I was a quarter of something, and when I was with Robert Plant I was a sixth of some- thing and when you leave you become the whole thing. So just after you spend time realizing what you are, and it just happened that I was doing that in my life as well as musically, it kind of happened at the same time. I was getting to a point in my life where I was beginning to realize who I am, and I like me.

Every band I've come across has read more than I have.

New Amsterdam Records, a new label run by composers, has begun documenting this hybrid music, with invigorating discs by the band itsnotyouitsme and the composers Corey Dargel and William Brittelle.

I think we have a little added appreciation for the Canadian fans, maybe because there's a lot of Canadians that want a Canadian band that seems to tour a lot more in the U.S. that are like, "Whatever. You guys don't care about us. You just turned your back." Our fans, the people that we hang with in Canada when we play, seem to be super-supportive still. We have a lot of love for that.

Because we take these huge long breaks, and then I just kind go, "Okay, fine, this is the way that I've chosen to live my life, and if the band now fades into obscurity, so be it, that's my decision." But then we come back and it's still as big as ever, or bigger. It's always been a surprise to me, that it worked out that way.