Quotes About Bands

I get a chance to see new bands and new music. I've seen a lot of amazing local bands, bands that I think 'have what it takes', that they could become the next big thing. More often than not it doesn't happen.

I'm 24, and a lot of people my age grew up listening to bands that were big and making it from around here. I was going to Flaming Lips and Chainsaw Kittens concerts when I was 12, and getting my mind blown at a young age... and maybe for people in bands, there's irreparable damage from those kind of things, and it turns out weirder bands.

I had 12 years of classical music as a child, playing piano competitions as a teenager, playing in blues bands and rock 'n' roll bands, country and jazz bands. I played in about any situation.

My all time favorite band is Paramore and she's basically one of the reasons I was inspired... umm, well Hayley Williams from Paramore was one of the basic reasons I wanted to go rock. I saw the band live and they're great together and they write incredible music and also I like a lot of older bands. I like Motley Crue a lot and who else, I've got a lot of favorite bands but those are pretty much the main ones.

I don't like bands who would play music like Code. I mean I hate most bands with emotional singing parts (I adore metal singing like Iron Maiden though!)

The three of us [me, Mike Dean, Woody Weatherman] all learned how to play our instruments together. We had a common interest in bands like Black Sabbath, Deep Purple. Bands who had different time signatures etc and for whatever reason, we morphed into Corrosion of Conformity. It's been about thirty years now.

Sex is more openly spoken about than 40, 50 years ago, and I think probably in comparison to a lot of bands - certainly other contemporary pop girl bands - we're certainly not as suggestive. We talk about sex in the way that we would to our friends. As a girl group, I think it was important not to avoid those sort of things either, because it's about confronting people's idea of what women should be talking about and how they should talk about it. There's no point in shying away from subjects like that, because they exist.

A lot of bands have the enthusiasm kicked out of them by playing really dreary pub venues that just churn bands through.

We had a wonderful department that scouted out new music. It was beneficial to Rolling Stone, because I would come back and say, "You have to hear this, you have to hear that," and I found a lot of bands to feature, emerging bands. It [ended up being] symbiotic.

I have seen so many bands and musicians fade away, especially the ones in my early days that treated me and my bands with contempt for no other reason than that they were headlining the show, not all though, with great exceptions such as Slade and Vinegar Joe.

A lot of bands are going out and playing for nothing. A lot of bands will go out and get paid, but the gas tank will eat up their paycheck. When they manage to sell a t-shirt or two, there is a little bit of leftover money there so that they don't have to have McDonalds that day. They can actually eat something decent with possibly a bit of cash leftover. It's a huge part of the business now.

Bands now are always trying to make their presence known through social networking and whatnot, but that's just the same as bands before the Internet age trying to connect with fans in some other way. But I don't follow people on Facebook, I think that's creepy. I wouldn't want them following me on Facebook. I don't even have a mailing list.

I've always played music and I've always been in bands and there have been periods in my life where the music has taken a much more front row seat than any acting. For a big period of time the acting work was really a way of raising money to fund my music. And then that all sort of changed around and that's fine.

When I first heard bands like Tortoise, it seemed to come off the back of that world, like let's make a record with three vibraphones and release it on a seven-inch with black-and-white artwork.

I think the thing that is hard for a lot of bands is that there is a lot of free music out there.

When I was four, I think I just wanted to make noise. When I was about 10 years old I was given five CDs for my birthday: Pink Floyd's 'Dark side of the Moon,' the Sex Pistols, Prodigy, Jimi Hendrix, and I can't remember the fifth one, but really different kinds of music. That's when I started to grasp it and enjoy it, listening to it. Then I started being in bands at school.

As far as bands doing that in a way where they think they're going to fight the government, the only people they're really hurting is the fans.

I always loved all kinds of music. I would watch musicals a lot as a kid, on TV, watch the Fred Astaire movies. I'd watch 'The Wizard of Oz.' I was a big Jerry Lewis fan, and they'd have these big bands and someone singing - some siren, or some guy singing some gorgeous song. I was always enamored of that style of music.

I'm not excited when bands strip things down. I'm not excited by the White Stripes.

I don't know how other bands play the same songs every night.

I want to support young girls who are in their 20s now and tell them: You're not just imagining things. It's tough. Everything that a guy says once, you have to say five times. Girls now are also faced with different problems. I've been guilty of one thing: After being the only girl in bands for 10 years, I learned - the hard way - that if I was going to get my ideas through, I was going to have to pretend that they - men - had the ideas.

I'm not ashamed to say that I really loved some of the hair metal bands of the '80s.

Enuff Z'nuff is one of the most underrated bands in the world!

Some of my favourites... there's the classics like Blur and Oasis and Pulp, Suede and The Charlatans, The La's, The Smiths, The Cure, stuff like that. That was a huge part of my teen-years and bands I still listen to right through to this day, but it had a huge bearing on me as a teen and it was some of my favourite music, and is still to this day some of my favourite music.

As a female band, we don't come from trying to be appealing or "sexy." There are a lot of bands - and I'm not dissing anyone - that talk a lot about being girls. I'm more into the idea of being ourselves and letting that speak for itself.

The internet seems to be what a lot of independent bands are doing these days. They're bypassing the studio - the big studios, EMI and all the record companies - and just doing it themselves, online, selling their stuff, getting known through that medium.

Have pride and entertainment. I think that a lot bands just don't know how to do it anymore or they lost interest in it or don't care and are just cashing a paycheck.

Now I'm having the time of my life being on the road with one of the world's all-time great big bands, and performing with symphonies. I wouldn't trade it for anything.

I think Queen tribute bands are great. However, we have to keep them at arm's length, otherwise it could be too dangerous.

I don't want to pooh-pooh modern pop. I appreciate that as well, but my personal favorite kind of music is guitar-based rock. I like grunge and garage bands and alternative music, but that's more my personal taste.

All bands are in danger of losing their identity. Constantly.

A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.

The sudden and abrupt deletion of all individuals occupying the lower bands of the Tone Scale from the social order would result in an almost instant rise in the cultural tone and would interrupt the dwindling spiral into which any society may have entered.

My roots and Victor's are jazz, basically, but these two young fellows that we have with us come out of rock bands. And they're tremendously exciting players.

As you grow, it feels hopelessly corporate but it really is worth putting in place these compensation bands.

Bands always call me when they are in need of a boost and I come in and put them back on top.

I think being in a place where there is nothing happening is very inspiring because you have to make your own fun, you are not reliant on imitating any other bands.

And for REO - they get to play for some Styx fans and then we get to play in front of some REO fans. It helps spread the new music to the following of other bands.

A lot of bands that reunite do it for the wrong reasons. They do it for the bucks and everybody can sense it.

I didn't grow up with indie rock - I mean, I listened to bands that are considered indie rock, but I think that term is dead and uninteresting.

You know, I have a really tough time finding new bands.

It happened to be, from '73 to '78, the five years that, our most glorious years for bass players. We had Larry Graham, with his own band, Stanley Clarke with his own band. We have Bootsy doing his thing. We had Jaco Pastorius. They were all leading their own bands.

One of the first bands to break out of Seattle was Heart.

You can see when that happens with bands when they do TV appearances; they just shut down. They get really irritated.

But I end up with these bands who have players from literally all over the world.

I have a lot of compact discs. I need them for radio play and convenience. Many bands and artists I am a fan of don't always release their work on vinyl, so I take what they feel like giving me.

My older brother and myself always played together in bands, but we never knew we would be professional musicians.

Being in two full-time rock bands is pretty impossible. I love to tour but I have a dog and I want to see him. And, being a songwriter, you have to have experiences and do things. You can't just go on tour all the time, otherwise you get nothing to write about. It's finally at a point where the balance is perfectly right.