Quotes About 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.

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.

The act of the being in the band has very little in common with writing songs. The songs come out of it, and the band is necessary for the songs to emerge, but the band doesn't exist just so the songs can emerge.

I haven't got a great jazz band and I don't want one. Some of the critics, Down Beat's among them, point their fingers at us and charge us with forsaking real jazz . . . It's all in what you define as 'real jazz.' It happens that to our ears harmony comes first. A dozen colored bands have a better beat than mine. Our band stresses harmony.

I'm happy doing different things. Being in a band is great, but being in a band can be difficult sometimes.

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.

I would rather write songs and then practice with the band. Just the band camaraderie is awesome and then writing music and then just listening to it and saying 'Dude, we made that music!' That's really fun.

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.

It's better to be the largest independent band from Brazil instead of be the smallest mainstream band.

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.

When I was a kid, I was playing in various bands - amateur bands, garage bands, weekend bands, you name it, around the area. At some point, I just wanted to try the whole 'Beatle tribute band' thing, so I found a local band that was doing that.

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.

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.

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.

I formed a band called Atomic Rooster. The Atomic Rooster was sort of an underground cult band, sort of psychedelic. We did very well.

This is going to sound really corny, but it's the way I feel: Musicians have been around for a really long time. It's a really, really old job. When you look at the way that a small band toured back in the '50s, it's similar to the way that a small band tours now. It's been this long tradition, and when you meet somebody who has been doing this for a really long time, you have to have tremendous respect for them.

You know, in the 1970's, when I was in high school, I belonged to a band called the Happy Funk Band. Until an unfortunate typo caused us to be expelled from school.

Everyone can lock into the rhythm on a tune. It's organic in nature. It connects the band as a whole and connects the band to the audience.

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.

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.

So, I play in a band. It's a really underground band. Super underground. Very underground. Like, we don't even actually play.

It's kind of dumb; everybody should be able to listen to the kind of music they want and just because you're a fan of a band for a longer period of time doesn't mean you have a greater stake of claim to the band or the music.

You are always kind of suspicious that there's a better life out there for you no matter what it is - and obviously being in a band for me was always what I wanted to do, it's the only thing that I can do, it's the only thing that gets me up in the morning, but you can't help but wonder what else you'd be doing if you weren't in the band.

Nine Inch Nails were the best and most popular industrial band of all time; as a consequence, industrial purists usually assert that Nine Inch Nails aren't an industrial band at all (this is a counterintuitive phenomenon that tends to occur with purists from all subcultures, musical or otherwise).

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

The story of our band is that we were this relentless touring band in those early years. We were leaving day jobs and going off on the road and having fun and seeing the country for the first time. We were playing Chinese restaurants and basements and record stores and houses. We were crashing on floors and it was all new and exciting. It was like a vacation. It didn't feel like work. I couldn't wait to go on tour back then. I would be sitting at my day job or my apartment, just itching to go. There were so many adventures that were about to happen.

Some bands blow it before they even play. The most important moment of any show is when a band walks out with the red amp lights glowing, the flashlight that shows each performer the way to his spot on the stage. It's crucial not to blow it. It sets the tempo of the show; it affects everyone's perception of the band.

I have a theory that musicians recognize each other and if they are destined to collaborate together they will. Mainly, they recognize each other according to the class they belong to. If they are punk-rocker kids from the neighborhood, they are going form a band. If they happen to be musicians that are going to play in pubs and restaurants, they are going to recognize each other, form a band and play together. If it's about musicians that are playing jazz and are going to jazz festivals, for e.g., then they are going to meet and work together.

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.

When you're in a young band for the first time, geographically you're in the same place and you tend to go out and socialize. You play more shows, you spend more time together. You're a unit. As you grow older, inevitably you develop a life outside the band. I think it would be tragic if you didn't.

The bands of perception vary greatly. There is the human band of perception. There are lots of different bands of perception. Simply because we are in one band of perception, doesn't mean others are not there.

We started the band with a work ethic of 'it's us against the world' and that is something that our fans aligned with, too. Together, we speak a common language. I think that motto has helped us keep the creative force alive all these years while the fans have kept the fire burning for us to always be excited to create new music for them. Without the fans, we are a band without a home.

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.

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.

I've never had a band with more than 3 people (meaning only two string players), so I love having the ability for 3-part polyphony.

The guerrilla band is not to be considered inferior to the army against which it fights simply because it is inferior in fire power.

There is no way I would play guitar like a tour de force like I did in Led Zeppelin. John Bonham, phenomenal drummer, young man with his technique, but do you think he would ever have the opportunity to play like that in another band? Of course he hadn't.

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

I do a lot of curiosity buying; I buy it if I like the album cover, I buy it if I like the name of the band, anything that sparks my imagination. I still like to go to record stores, I like to just wander around and I'll buy whatever catches my attention.

Pantera is the only band I've ever been in, and at the start we used to play covers to make a living.

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.

If I wasn't bound to Brooklyn, due to my own personal reasons like taking care of my mother and the fact that this is where the band is based, I would probably move to Iceland.

More than 30 years ago, in Washington, D.C., I secured a copy of a single by a Los Angeles band called The Bags. The two-song 7-inch, released on Dangerhouse, had a girl on the cover who looked right at you with huge eyes. The songs, 'Survive' and 'Babylonian Gorgon,' were great and made many of my mix tapes.

My earliest musical memory was getting to watch my dad play drums in a local band. He's a banker by trade, but a drummer at heart. I remember seeing the guitar player do the solo from "Werewolves of London" with his teeth, and that was the moment that had me hooked.

I didn't write any music at all, and then, I remember Jon Anderson being very insistent saying that there were two kinds of musicians: the ones who wrote music and the ones who didn't. And clearly the ones who wrote music were more superior human beings in his mind. So he kind of nudged me and sort of prodded me into it. I picked it up slowly. Then I learned more about chords and harmony and I just kept adding to that. One of the great things about having good players in your band is that you just ask them questions. You can pick up some good information that way.

Traditionally speaking, the three biggest twats in any band are the singer, the keyboardist and the drummer. I don't need to say anything else.

When you get a chance to play with people - informally is one thing, but when you hook up and make something that's going to last or mean something to someone, I take it very seriously. I take it no less seriously than the band I was in for 15 years; it's just a new place that I'm in. I'm in the Gutter Twins right now and that's what I am. But if I'm a Twilight Singer next year, it will be with no less passion.

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.