Even the bands I dig don't have a history of attaining mass consumption.
I've played in pipe bands in Scotland, and I've always played guitars and drums and stuff.
It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.
The record business is dangerous to the health of bands and individuals, which is something I'm just now learning. But it's not dangerous in any of the ways people think; it's not that they try to make you compromise your art. That's not the problem.
I always liked that about bands like the Beatles. They could be so touching at one moment and then 'Helter Skelter' the next.
I got more bands and went on the road and turn down more movies than you would believe.
But there's actually a lot of punk bands out there that go out of the norm, use odd time signatures, or a lot of different tempo changes in a song.
The Beatles, the Small Faces and the Kinks were great bands, but that was in the '60s.
Leave bands, go back to obscurity if I choose to, without a great sense of loss of security because it's all been based on the fact that I did it on my own or was doing, enjoying doing it on my own in the first place.
Maybe if they start playing new rock bands videos, then maybe but there is no point in a guy like me spending 250 grand for a video that no one is ever going to see.
In a way, I pattern myself after all the bands I used to like as a kid. Every time they put out LPs, they had a whole new look and a new sound.
There's no leader of this band, and there never will be. That's the key. You can't control how the public perceives you-people see rock'n'roll bands as the guitar player and the singer.
My husband works in the music industry and he's always the first to know about great new bands, so I end up seeming really with it because I'll be listening to an up-and-coming band before everyone else hears about it.
Bands like Kraftwerk and Tangerine Dream, who I respect, have a very robotic, dehumanised approach. They're almost an apology for machines. It's very German.
James, that's a bad situation. I'm not saying it's not repairable, but it's pretty far. When you go from being in one of the best bands in the world to some cover band... as far as I'm concerned, he was playing down at the pub.
I was in bands, but they were punk bands, and you plug in the guitars, you turn them up really loud, you've got four or five other people on stage with you, you've got some protection from when they throw lighters. You can always hide behind the lead singer or the bass player.
It's like they had a backlash the first 11 years. I think the reason why it always seems like there's a backlash is because when bands are unknown, they only get written about by fans.
The first Decline I did was out of sheer love and appreciation for the music. In 1977, it was more about bands, because punk was a new form of music. It was groundbreaking and political.
I followed most of the 80's bands into the 90's as most of those folks who hadn't moved away were all still active. However, there was a point when I lost track of the new bands coming up.
I think it's healthy for bands to discover new, older stuff.
I think once I started writing my own music and having my own bands, that's when I got more of a focus on what I wanted to do, personally.
I know that starting out as a young band, it's really easy to get lost with bands that sound the same or with the plethora of music that's out there.
If you want to be negative about the whole thing you can say all guitar bands after the Beatles were just a waste of time because the Beatles were the best. I think it's far better to give new records a try.
The local music community here was dying for a place to record, so we started doing acoustic, folk and bluegrass and then did rock projects for other bands, as well as for my son Tal and my own work.
I played in a couple of really crummy bands, including one in the dorm I was in at MIT, for a year or two.
With pop music, the format dictates the form to a big degree. Just think of the pop single. It has endured as a form even in the download age because bands conform to a strict format, and work, often very productively, within the parameters.
Insurrection by means of guerrilla bands is the true method of warfare for all nations desirous of emancipating themselves from a foreign yoke. It is invincible, indestructible.
The hairstyles of most Heavy Metal bands are pretty horrendous.
My father was a jazz tenor sax player. He played in a lot of big bands. So I had that sound around me all the time. The first record that really caught my ear was Clifford Brown's 'Brownie Eyes.' I grew up listening to John Coltrane and Illinois Jacquet. This is where I come from... I love improvisational music.
We wanted to offer something new to our audience. I hate it when bands stop taking chances.
When I go into rehearsal rooms and meet with bands, they're genuinely excited to be with me because of what I've done as an artist, not because of anything else. There's that whole celebrity rock star thing, and artists are into artists who have been able to achieve success their way.
That's one of the problems with making music your business, it becomes a business. You're no longer just this kid who is a fan and going to see every show. I've been in a bar every night for the last 15 years. Going to see bands for me is work.
From George Martin's classically inspired production of the Beatles to Peter Gabriel's early solo masterpieces, to Stereolab's beautiful loops and blips, U.K.-based bands have often found a way to squeeze warmth and compassion from the stone-cold - especially now that the tubes are gone - machinery of the recording studio.
All the bands get along really well. That's one of the biggest things on a tour. It's great to get all these cool bands together, but if they don't get along it sucks.
The bands that were big in '77, like the Clash and the Sex Pistols and Talking Heads, I got into them in the early '80s. And it changed my life. It got into my DNA.
I grew up right in the heart of Treme, so it was a real music neighborhood, and there was a bunch of bands like the Dirty Dozen Brass Band around.
