Whitesnake more than most rock bands would get a very significant percentage of women in the audience and those were the ones I'd hear the voices because from where I am on stage is a pretty good spot.
The music industry is a strange combination of having real and intangible assets: pop bands are brand names in themselves, and at a given stage in their careers their name alone can practically gaurantee hit records.
All I really wanted to do was make an album that was going to be just back to what I like to do... And it was a coincidence that these new bands, this new wave of bands, were doing Alice and Iggy rock.
Of course it's fantastic to have bands formed in garages, but there is a market for other types of music.
After all, in today's music scene every band seems to steal from other bands.
The bands you like and know that are French are always outsiders in the French music industry - Daft Punk, Air.
It's valid that the Strokes and the Pleased have been influenced by some of the same bands. But it's invalid in the sense that we listen to the Strokes and try to sounds like them. I think that they are a good band.
I really don't like it when members of bands slag each other off in the press. If you've got a problem, you should sort it out without going public.
If you started in New York you were dealing with the biggest guys in the world. You're dealing with Charlie Parker and all the big bands and everything. We got more experience working in Seattle.
My mother told me when I was a toddler and in the crib that they would have music playing, and the thing when I lit up was boogie-woogie or something out of the Louie Jordan period of sometimes big bands, and then all kinds of things.
I've grown up in the Treme, and I played in a bunch of brass bands. My brother, James Andrews, had a brass band.
We went into that knowing that we were never going to sell a major record 'cause we didn't sound like these bands, so I just thought this was an opportunity for us to make the kind of records that we wanted and make some money at the same time.
I'd say that my musical influences are anywhere from pop-rock electronica, new age and classical. But I think that specifically, bands - I love Jem, I love Sigur Ross, I love David Gray, I love Elliot Smith... a lot of different people. But I don't find lyrical inspiration from anybody.
You have to keep the business side together as well as the creative side. We have constantly surprised people and stayed with bands until they have grown on people.
In 1980, I moved to Chicago, and I recorded demo tapes for my friends' bands, and in 1981, the first Big Black record - the first thing I did that was an actual record.
I had written movie scores, television series, played with other people. Carl had done the same with Asia, with other bands, everything. We weren't about to entrust Greg automatically with a production credit.
The situation in America is when it starts moving there, all the bands from England move over to America and work from there, so that they're available all the time for everyone that wants them in person.
I don't think a lot of bands and artists work as hard as we do on the creation, on the writing, the arrangements and the recording in our format.
A lot of bands that reunite do it for the wrong reasons. They do it for the bucks and everybody can sense it.
I'd played in about four or five bands before we started up, only a couple of which did club dates.
A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences.
I love punk, I love a lot of British Invasion bands, I love garage bands.
Bands like Culture Club and artists like me, you tend to concentrate on the live arena because that's where you can be your most authentic. That's where you have the most power.
I mean, most of it is probably more obscure and just more noisy than either of those two bands, but Thurston has stuff all the time that he's involved with that is fairly obscure and experimental.
The really cool thing about festivals is that you're getting to play in front of a whole lot of people who have never heard of us before. That's exciting. At the same time, it's a little bit of a challenge to capture the attention of people who have already seen a lot of bands.
I love music, and I love drumlines. I like school bands a lot. There's nothing wrong with cheerleading, but I'd rather be a band geek. It's a little more interesting.
Prog didn't really go away. Just took a catnap in the late Seventies. A new generation of fans discovered it, and a whole new array of bands and solo artists took it on into the new millennium.
I feel nowadays a lot of bands can be too overly produced. There's something about the leather pants and bare bodies and Axl Rose running back and forth on a stage and going crazy. I love all that.
Most bands have a two-year success rate. By the third year, it's sort of over. Here we are in Poison still together 26 years later.
I hope we can keep doing it this way - making music and art that are pure products of our influences while not really having to let the whole celebrity side of it get in the way. Then maybe more virtual bands will come out and do the same thing.
Anyone interested in the world generally can't help being interested in young adult culture - in the music, the bands, the books, the fashions, and the way in which the young adult community develops its own language.
Normally when I work with bands I'm trying to refine and improve what's already there.
I was mostly influenced by bands like Black Sabbath and Judas Priest - Metallica's 'Kill 'Em All' was also a hell of an inspiration.
I hate meeting my favorite bands because then it just ruins it.
Most of the people I know in bands, all they are concerned about is getting to do the next record.
When you look at bands like Take That, who have come back bigger than ever, you can see there will always be a market for good pop bands.
