When I play with my band around the U.S.A., the most requested song is 'Peace Frog.'
I'm wary about this thing about being in the generation of social networking where people are like, 'I am my musical taste.' I am not just a collection of music. Or a collection of movies. I think that's a thing that people romanticize: 'Oh my God, she likes this band so she is a dream.'
When I'm playing 'Rock Band,' I'm like, 'Man, someday, later on in life when I'm a famous rock star...' Which gets a little harder to convince myself of as I reach middle age, but it still happens a lot.
When you're in a band and there's five of you, you have to accommodate five people in every song.
I've got quite a big gay following. I played a lesbian prostitute in the TV series 'Band Of Gold' but I think my following really grew when I played one in the film 'Imagine Me & You,' with Piper Perabo.
The chemistry that you get from living with your band and creating music and recording with your band translates to the stage.
There was a band in Australia named Midnight Oil, and they were a very, very political, and they literally hit you over the head with a hammer. U2 sometimes can hit you over the head with a rubber hammer.
I left my band on my own, and it took me a long time to find major success again - almost a decade. And everything that didn't happen during that time just motivated me to do better.
The first review our band ever got - when I was 17 years old and we had just released our first EP, and this tiny little magazine wrote a review on it, and for that month, we were the best album of the month, and we were also the worst album of the month. We won best and worst album of the month in the same magazine.
I have seven uncles, and my dad played bass, they had a band together, that was the family band. And of course as the cousins got older, including myself, we joined a family band. All the cousins played. That's my heritage.
I started off as a bar band. We played ZZ Top, Bob Seger, Waylon Jennings, the Rolling Stones - everything and anything people wanted to hear. You're not really selling yourself back then; you're selling beer.
I learned a lot from playing those late-night, 1-to-4 A.M. gigs with my band, and playing when no one was listening.
A close girlfriend of mine and I have been writing and playing together for years and decided to make it official, so we formed a band called 'Everly.'
I thought if I lost the band, I was dead. If I didn't stick with the Who, I would be a sheet metal worker for the rest of my life.
I was in lots of dodgy bands growing up and I always fancied myself in a band. But, you know, I was rubbish at writing music. So maybe one day I'll play a rock star, or punk rocker.
When you're in a band with three writers, three great writers, you only get one third of the writer thing. So that's the whole reason that I did a solo career. And that's, you know, when I told Fleetwood Mac I was going to do that, they were of course terrified that I would do that record and then that I would quit.
When I heard the Pixies for the first time, I connected with that band so heavily I should have been in that band - or at least in a Pixies cover band.
If your album sells, that's cool, more people find out about you, more people get turned on to what we're really about-which is a live rock and roll band.
Obviously, any living musician born after 1960 has been touched by rock and roll. It's the music of our time, and it's 'in the air,' as Steve Reich would say. My experience of it is just really direct because I'm actually playing in a collaborative band.
We've never been a religious band, but the media wants us to be.
Any band that calls themselves 'The Killers' is gonna be dangerous.
I was on the dole once. I loved it. It was only for a couple of years, when I was 20 or 21 and playing in a band. Back then, this was something young folk did - you got your rent paid, a little bit of money to live on, and you loafed around, wrote songs, rehearsed and dreamed of playing Wembley Stadium.
When you're on tour with the band, it's a different mentality. You don't sightsee because you're making sure you can do the show. But in musicals, I don't have to sing or play: I just have to use my brain, and the rest of the time, I'm free.
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.
Every 15, 20, 25 years, a new rock and roll record needs to come out and a new rock and roll band needs to come out.
I'm glad I was never in a band.
Our band has always been really big on imagery. We've kind of used that as one of our strengths; we tend to do that pretty well.
We've been lucky. Even as a young, local-level band, we were able to rise out of the local scene without having any debt, without having signed the wrong deal with the wrong manager or the wrong booker or a small label.
Shellac was asked to do a recreation of our first album, but we've always been a band that improvised our sets. That's critical to the way that we function on stage. Whatever the mood takes us on stage can vary from night to night with what you feel like playing.
I wouldn't do go to another band.
There is no rule in the pink-triangle guide to coming out that you must wear a rainbow flag cap and organise a full band parade.
I never do releases to try and make or break some contemporary band.
When I got my band in 1983, I knew what I had to do. If I'm going to have a big band, they're going to have to sound equally as good as what I'm used to hearing.
I'm a performer. I do comedy and music, and I blend them together. My band is 'Nasty Delicious!'.
There's nothing wrong with wanting to be in a disco band.
I was just a music lover who wondered what it would sound like if Otis Redding strapped on a guitar and played in a punk band. That's it.
