Quotes About Band

If you have a great band with a mediocre drummer, you have a mediocre band. If you have a mediocre band with a great drummer, you have a great band!

The band? No way! There ain't no band. The band is not 'the band' right now. It's just three guys.

I was in every band class I could get in, like after school jazz band and marching band, and that's where I really learned to read music from elementary all the way through junior high and high school.

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

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.

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

All those experiences were a chance to learn more about music. Playing with the Valley band is like such a "live" band. I mean, really, in many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio, we build the songs that way. Whereas Mystic Valley Band was the exact opposite, where everybody knows what they are gonna be playing on the song and there's sort of a general stylistic approach, and then it's just plug in and play.

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 know what it takes to make a band, how they should interact, what makes a record sound like it's a band - everything having to do with a band, I happen to be into.

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.

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

It was great being together as a band, but much more difficult being brothers than it was being in a band.

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.

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.

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.

My first big break was with the Ted Fio Rito band. Fio Rito had a bunch of record hits in the 1930s and did a lot of radio work back then. When he came to my home town in early 1942, I sat in with the band. Ted liked me and offered me a job.

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 don't know if it was related to the type of music that we were doing at that time or what, but Todd Cook actually just turned to me and was like, "You know what would be a great name for a metal band? Dead Child." We talked half-jokingly that we were going to do a band. I guess as time went on, I started writing songs that were more metal sounding, and it just evolved from there. It actually started with the name first, and then the songs came second.

My grammar school graduating class in 1941 had a little party for 13 or 14 year-old kids. [Trumpeter] King Kolax's band played for the party and Gene Ammons was playing tenor saxophone with the band. And that's when I said, "That's it!" Just like that, tunnelvision ever since.

Occasionally I hear a band that blows me away. For instance, there's a musician in Oakland named Weasel Walter who has a band called the Flying Luttenbachers. Go see the Flying Luttenbachers when they're in your town. He's one of the greatest rock composers who ever lived, and he's struggling and living like a poverty-stricken hermit.

I don't want to hear from a band that pretty much sounds like another band. Oh I've heared this riff before, or I've heared these words that everyone is saying. I want to hear new poetry, new guitar riffs, new drum-beats, new sounds. Then I'm really interested.

I think I would be much more enthusiastic about a band that covered more than just one particular album of mine. I don't ever really intend to record or to do shows with a live band. I don't really have a problem with it, but it doesn't really affect me either way.

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.

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.

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

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.

I asked all through third, fourth and fifth grade, when they were asking kids to be in the band, to be in the school band. But they wouldn't let me do it.

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.

I hope to find the perfect band as well, I really do, and I'm working very hard to find that band.

The Tragically Hip, more so than any other band I've worked with, approach their work like a team. This might sound way too pat, but they're like a great hockey team: all five of them have their roles. They go at their shows like an athletic event; they're in it to win it, and they'll lay it out there on the proverbial ice in order to win and get the crowd on their side. You can't do that when you just throw a band together. There's a sixth sense there that makes it easy.

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

In high school no guys wanted to be in a band with me unless I was going to play bass or play grindcore or be in a scream-o band, so it was fun to finally have that experience of having my songs backed by a drummer and a bassist who were just as excited about it as I was.

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.

At the time of starting this band I was listening to tons of death metal. However, the bands that made me want to be in a band to begin with were groups like Korn, Deftones, Slayer, Sepultura... everything that my dad would buy and bring home to me and my brother saying 'Hey, listen to this'.

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

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.

Commercial record has never interested me. It's amazing I was in a band like The Police that had such phenomenal commercial success. Part of what made The Police what it was was that we didn't all come in with obvious mainstream musical tastes. We were a rock band and somehow we had to make rock music, but it was informed by a lot of things outside of the mainstream for sure.

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.

I met the Santana band when I was 14. By the time I was 15, I was a member of the band.

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.

I work with this wonderful five-piece band, The Tony Guerrero Quintet, along with Kate Flannery, who was Meredith the Drunk in The Office, and Tim Davis, who was the vocal arranger on Glee. The three of us sing, and the band is amazing. We've been working together for about two years. So, we decided to do a Christmas album in July.

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.

People say, 'Why don't you do interviews? What do you think about this? What do you think about that?' My job in the band is to play drums, to get up on stage and hold the band together. That's what I do. At the end of the day that's all that's important. Everything else is irrelevant.

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.

I have so many indie bands on my iPod. What I don't really understand is the attitude that if a band is unknown, they're good, and if they get fans, then you move on to the next band.

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.

I tend to write pretty much by myself. I always did that anyway. I used to write with Ron Strykert 'cause he was the only guitarist and we played well together. We lived in the same place. I would play a certain style and he would kind of dance around what I did, in a sense. I learned from him and also vice-versa. With this band, I think I bounce ideas off everybody. Perhaps on the next album they'll be more collaborative stuff, but for the last 2-3 years, I've been pretty well writing by myself.