Quotes of All Topics . Occasions . Authors
U2 are a great band; they've given us an unbelievable body of work, and all of us musicians owe them at least something. I can honestly say that every time I have played the Red Rocks Amphitheatre in Colorado, as soon as my drums are set up, I go into the beat of 'Sunday Bloody Sunday.'
Immense deposits of kimmeridge clay, containing the oil-bearing bands or seams, stretch across England from Dorsetshire to Lincolnshire. [An early political recognition of the native resource. The Geological Survey had identified the inflammable oil shale in reports since at least 1888.]
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.
Everybody besides my piano player has been with me since the very first day. We were a four-piece band for a solid two years. It was me playing acoustic and rhythm electric guitar, a bass player, a drummer and a lead guitar player. For a couple of years, we sounded like the Foo Fighters.
On that same tour we ran into a band at Aylesbury Friars, a biggish venue in Oxfordshire, England. They were a four-piece from Ireland called U2. They seemed like nice fellows and they sounded pretty good, but we didn’t keep in touch. They’re probably taxi drivers and accountants by now.
When I was a little bitty kid, I was listening to the stuff my parents were listening to. My mom was a huge Whitney Houston, Mariah Carey, Mary J. Blige fan. My dad had a cover band that I sang with, and he loved Parliament, Prince, Jimi Hendrix, and Eric Clapton, the blues, James Brown.
The only way you can obtain brood mares on a basis you can afford is to buy two or three yearling fillies every year and race them. The good ones, the ones that show potentialities, you keep, and the others you get rid of. In that way, you have a chance to build up a good brood mare band.
I think people can just make things now. It's kind of what happened with the music industry. Before, a band couldn't afford to go into a nice studio, or if they were going to go into a nice studio, they had to record twenty-five songs in two days. That's not a healthy workflow for anyone.
It's just music. It's trying to play clean and looking for the pretty notes. The beat in a bop band is with the music, against it, behind it. It pushes it. It helps it. Help is the big thing. It has no continuity of beat, no steady chug-chug. Jazz has, and that's why bop is more flexible.
I was in a really crummy pop-punk band. I think we did a whole bunch of Blink-182 covers, and we were on the fringe of losers and jocks. So we invited all the cool kids to come watch us play in our bass player's brother's bedroom. And it was terrible, but everyone thought we were so cool.
When I'm writing, I separate from everyone. Even my band. I push myself, and I'm alone with my thoughts. Separating from friends and comforts and family lets you think a lot deeper about subject matter. Working alone drives me a little crazy, but it makes the writing as honest as possible.
I just wanted to do my own thing after The Murderdolls. The Murderdolls were so spread out all across the US that we couldn't just say, "Let's go rehearse." For us we had like four days to rehearse because everyone had to book flights, so we just never got as tight as most bands should be.
If what you want to do is make artwork for bands, you have to love doing it because there is almost no money in it. In order to start doing it, you just have to put yourself out there, work for bands you love and for as little as possible to start, if not free, that's what I did for years.
My live show experience has not been good. It's just because I haven't had a band or anything. I played a show in Santa Ana that I'm just not proud of at all. It came out of the blue, and I kind of freaked out and took the opportunity because it was the biggest thing I've ever been offered.
I had a band with David Gates. There was just a lot of opportunity at that time. But I left for Los Angeles the week after I graduated high school, and I actually left to try to get into the advertising business. That was really why I went out to L.A. My music career was almost an accident.
The first time I ever recorded, which was into my boom-box, I was like, 'Wow, check that out.' It sounded great. The narcotic of it was so intense - it was pleasurable. I was like, 'You sound like a band.' Then I ended up spending the rest of my life trying to chase that initial high again.
Imagine a 'Mission: Impossible'-style spy or infiltration mission into the core, the very heart of the Empire's military-industrial complex, the most secure facility in the Empire. You have a small band of experts with complementary skills who, together, are able to do these amazing things.
I think Pantera is a type of band that has been documented very, very well over the years. With the past re-releases, we were fortunate enough to have old demos and stuff that never really saw the light of day. But Pantera was not the type of band to waste many riffs or many parts or songs.
I think there's just so much awesome music coming out of New Zealand, I've always loved The Naked And Famous, I absolutely love Ghost Wave... it just seems like there's a really cool scene happening out there, I'd love to go and spend some time there and see what other bands are popping up.
When you start out as a band, you stake your claim and you go for it. And there's a part of you that dreams it and imagines it and does everything to get there, but you can't ever expect to sell 8, 10, 12, 20 million albums. It becomes this thing that you really have to figure out as you go.
When I was a vocalist, a lead singer in a rock band, I was a law student at the time. It wasn't a professional rock band, it was for fun. I was already way out of that by the time Phantom came along. Having to learn to sing, it was such duress, having to really try and get to such a quality.
'Human' was controversial within The Killers way before it was controversial to the rest of the world! It caused some problems within the band. Not to throw anybody under the bus, but it was pretty much me and Dave against Mark and Ronnie for a little while. We were standing up for the song.
With every record, with each band, I just try to make a song good. I'm not so much focusing on my technique. There are a million better drummers than me. I try to adapt to the songwriter; I try to adapt to the situation and retain my sort of melodic power. My goal is for the band to be good.
I've spent a lot of Thanksgivings on the road with my band, so anytime that I can spend Thanksgiving with my family in a traditional aspect, eating sweet potatoes and cranberries and stuffing and all the trappings of Thanksgiving and then get on a treadmill the next day extra long, I'm happy.
On 'Sullivan,' you sang live. Not only that, you sang with a 40-piece band. So you had instruments that weren't even on the original record! So this was when the rubber met the road - when you had to really learn how to perform. And it was for 10 or 12 million people. So that was a challenge.
My very first gig was with the Sex Pistols, and it was also our first-ever gig. It was a very short set, and it was at Saint Martins College of Art in 1975. We were opening up for a band called Bazooka Joe, and their bass player at the time was Adam Ant, who went on to form Adam and the Ants.
Being a professional musician doesn't mean you spend 12 hours a day playing music. It means you spend up to 12 hours a day taking care of business, dealing with litigation, with the various characters who've stolen your interests, or fending off hostile lawsuits from former members of the band.
My mom was in a band for over 30 years, and my brother, sister, and I start taking classical piano lessons when we were three. She's really the reason why I'm still playing piano - she made me practice every day before school and made it a priority even when we didn't necessarily want it to be.
In the early '90s, it was grunge; everybody was fully clothed. Alanis Morissette was one of the biggest artists in the world, never wore makeup, wearing Doc Marten boots, and then the Spice Girls turn up, and suddenly it all looks a bit burlesque; suddenly they're the biggest band in the world.
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
I look upon The Animals, they were a great band initially, we left our mark, but thing was it was a band that couldn't live up to its name so I soldiered on. On one level, it was devastating for a while. On another level, maybe I should thank them for helping me make my own way in my own career.
There came a time in everyone’s life when they realized that in spite of how hard they’d been running from themselves, everywhere they went, there they were: Addictions and compulsions were nothing but marching bands of distraction, masking truths that were unpleasant, but ultimately undeniable.
I distinctly remember a conversation with my band in the van where I was having a complete meltdown. It was 1984, I think, and I was huddled in the back corner of our van and saying, "I can't do this. I can't do this. I can't do this." I didn't want to play any more shows. I just wanted to stop.
At the time, in 1996, an electronic band signing with a major label was something new, at least in France. Daft Punk knew that this meant a marathon of promotion, TV appearances, etc. To protect themselves and to be discrete, they came up with the masks and, three years later, the robot helmets.
The couple of years before I was declared bankrupt were the roughest. The bank letters, the pressure, the stress was awful. You're in this twilight zone of not knowing where your life is going, and yet you're in Westlife. Everything was great with the band. I was earning money, and it looked good.
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).
Not to name names, but a lot of pop female artists you see, they don't write their own songs. Lot of top male artists and boy band artists, they don't write their own songs. They're just a product. They sell, they sell, they sell. They don't care about musical integrity, any of that kind of stuff.
One day when I was like 9, I heard the Beatles on the radio, and I asked my dad who they were. He told me they were the best band in the world, and I became obsessed. He started giving me their albums in sequential order, and I listened to them - and only them - until I was probably in high school.
One of the things that the Grateful Dead did, way back when, was we spent a lot of time just turning each other on to music. If somebody was listening to something that really caught their ear, they'd make sure that everybody else in the band heard it, and that came home for us in innumerable ways.
'Circuital' was just so much about us as a band. We captured every song live, including the main vocal. That is probably my favorite My Morning Jacket record because it's really the essence of us being us. The solo record is just a completely different essence of just me trying to figure out stuff.
I think what's more important to The Prodigy is that, whatever number your album goes in at, or the single, or however many plays it gets, or doesn't get, or awards you get, or don't get; our reward, as a band, is to write the best album we can and then go to Download festival and rip it to pieces.
My start came with experimental musicians and live bands. I never played with DJ's because it wasn't really the correct fit. It fit in more with someone using a laptop to create their own electronic music. When you're doing music like that, it's hard to get more than 20 people to come to your show.
I think all of us, at some point early on in our lives, knew that we wanted to create music. We are still really young and sometimes we do feel like we have to prove were as great as all the rest of the bands -old and young. But we just do what we love and people seem to be really excited about it.
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.
I think the whole concept behind lyrics is you better mean what you say, or you should like, become a storyteller. I mean, there's a lot of bands who are just storytellers, and then there are bands who actually have something valid to say. And the bands who have valid points are few and far between.
There are so many parts of music that it's actually a pleasure for me to work with an orchestra, or a jazz band, or a choir, and use every element that the musical tool box can offer. The world of music I love so much, and I can change the costume depending on the part, and I'm actually in the film.
What if all it took to bring us to our knees and to ignite our affections was the Word opened and the presence of God? What if that was enough for us? What if it didn't take a great band to evoke that kind of response from us in worship? What if His presence - His Word opened - what if it was enough?
Trenchmouth, really great band. Here's a photo of them in 1979 playing the Valley Green projects. It was an incredible, unusual experience. We ran a cord through the window and plugged the PA and amps into that and played right in the courtyard. It was an incredible experience. It was just local kids.
I grew up listening to The Band. I love Lowell George. I love Little Feat, and I was listening to some Springsteen, some of the deep album cuts. I just like the looseness of that kind of music. It all feels like they did it in one take. They let whatever happened happen. If it felt good, they kept it.
I don't want to paint myself as some villain - I was never a bad guy doing horrible things, but I got too caught up in wanting a very specific thing to happen to the band. Ultimately, I had to find the ability in myself to get over that and stop being so stringent and learn to laugh a little bit more.