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Band Quotes

“What does surprise me, though, is the amount of attention this band [Guns'n'Roses] has garnered 11 years after the original lineup broke up. That's an interesting phenomenon. It was even interesting back in the day. I mean, [we were] this glorified garage band. It was a great band, but it was not the kind of band you expected to become what it has.”

“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.”

“In college, unable to be "special" - or in demand - as a girl, I made myself useful, even essential, in my microcosm - as a writer and photographer for the band, particularly for the band director. My "specialness" was to produce something of value, not to look like something (with that different kind of "value"), so I was still fundamentally invisible, but had a significant purpose.”

“It is really refreshing to hear a big band that has the ability to execute ensemble passages with swing and precision while retaining a "small group" feel during the solo sections. This kind of "tight, loose" approach is seldom heard in big bands, whether they are professional or not. Now, all the band needs is to hit the road and take the music around the world!”

“I just got into it like a lot of people through the rock 'n' roll bands in the late '60s that turned to country music, like The Byrds and Buffalo Springfield, but particularly through The Byrds because of Gram Parsons, Roger McGuinn and Chris Hillman (with their 1968 album Sweetheart of the Rodeo). They kind of introduced English kids to Merle Haggard and George Jones and the Louvins (brothers Charlie and Ira).”

“I think I've done a lot in this business, whether through screwball methods or not I don't know, that has helped other bands. I made a kind of road for them, you might say. If I raised my price, they found out about it and raised theirs. But somebody had to start it, to make the first move. You have to have the courage and confidence in your own ability. You have to know what the hell and who the hell you are in this business. Music may change, but I don't think that ever will.”

“I wasn't necessarily frustrated in Fall Out Boy, but there were things that didn't get satisfied, desires left wanting. We didn't all meet on the same kind of music. When bands break up, there are all these buzz words that get tossed around to maintain a front for the audience, but in this case there literally were creative differences.”

“Its cool when I meet young guys from other bands who say how much an impact Aerosmith has had on them and how much they like me.I'll give 'em that 'C'mon you don't mean that' routine, but in my heart I know where they're coming from. If I had grown up in the '70's and was into rock n' roll, I know the kind of impact Aerosmith would have had on me. I know the kind of impact that Elvis and Jagger had on me, and while I'm not comparing myself to those guys, I can relate.”

“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.”

“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.”

“We have an incredible audience. I'm as proud of how Fairport relates to its audience as I am of any music we have produced. I think we're a real people's band. Massive popular success has never bothered Fairport. We've never been put in the position of being celebrities. A Fairport concert is like a meeting of friends. There's no big, security wall around us. It's kind of how music should be.”

“I was working in a church in Florida as a youth intern, which means I really didn't do much other than staple stuff. I'm from Dallas, Texas, and every time my grandmother would call-she would call me any time of the day-I'd be home answering the phone. She was like, "What do you do all day?" and sarcastically I would say, "Well, I'm trying to chalk off the next year to spend time finding a band name." And she said, "Well mercy me, why don't you get a real job?" I thought, "Wait a minute. That's the perfect name." That kind of freed up my year but that's where the name came from.”

“It's really an orchestral piece featuring a group and it was quite revolutionary at the time and it in fact, it kicked Deep Purple off as a name in Great Britain because it made all the newspapers. Everyone was writing about us. And there was some confusion as to what kind of band we were after that, which is why Deep Purple in Rock is such a hard unbending album of really furious hard heavy rock. Heavy metal hadn't been invented at that point.”

“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.”

“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.”

“A lot of life is about how you feel relating to dealing with this person or that person. If this person makes you feel good, then they're a person to be around; if they don't, they're not. Being in a band is different. The group is the more important part, and you have to kind of shift the way you look at life when you're in a group of people that you work with.”

“I think the record-buying public know what they like, and when people are trying to pander to them, I think they know it. They want the genuine article, so if we try to sort of "dumb down" for the mass public, I think they're too smart for that, and would recognize us as fakes. It seems like the bands that do crossover do so really on their own terms, and they just find that their terms just kind of make a big dove-tail with the masses.”

“Kind looks, kind actions, kind words, and a lovely, holy deportment towards them will bind our children to us with bands that cannot easily be broken; while abuse and unkindness will drive them from us, and break asunder every holy tie that should bind them to us and to the everlasting covenant in which we are all embraced.”

“One springs to mind: one of our very first gigs in a small East Texas town was not well promoted. At least, that was our conclusion. After the band loaded in and the curtain opened, we realized there was exactly one paying customer in the audience. We kind of made the best of it playing through the first set, took a break and bought him a Coke and then went on to perform for the remainder of the night. It wasn't exactly a catastrophe but it certainly stands as legendary.”

“When I was 16, I used to drive huge loads of laundry in a three ton truck. I would turn round at night to drive back and see the band in a place north of Toronto called Dunn's Pavilion. I would drive that truck all day and they drive back and all the way until one day I wrecked the truck. I fell asleep and wrecked it. I was OK and so was my helper. I called my dad and the first words out of his mouth were, "are you OK?" I was really lucky I had a kind father.”