A Quote by Michael Franti
We would play songs live on stage, and then we'd watch their reaction we were receiving immediately, if people were dancing and singing along. If they weren't, then we'd go into the dressing rooms of the different NBA teams that we were playing in their arenas, and we'd change the songs right there.
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We enjoyed the fact that we were called to the folk festivals and we got to know Joan Baez, Dylan. We were singing strictly gospel, but then after we started hearing songs that they would sing, we saw that those songs were very fitting for us because they were singing the truth, and truth is gospel.
I would play my Dungeons and Dragons songs and watch people's eyes glaze over, and then I would start joking around between songs, and all of a sudden people were lighting up and engaging.
I remember when I was a kid and I used to go and see Queen play live. It was like there was Queen the album band, and then Queen the four dudes on stage playing the songs on stage, and it never lacked anything to me when it was just the four dudes playing the big songs.
We used to rehearse and that's where the roots of Dream Theater formed. Y'know, we used to play cover songs and jam to [Iron] Maiden and stuff but we were writing songs and it was this metal, loud style and we'd constantly get knocks on our door, because the rehearsal rooms were right next door to each other, and these jazz guys would be like, "Can you guys turn it down a little?"
I always wanted to sing, I always loved to sing. As a child I was singing all the time, and my parents were singing all the time, but not the traditional songs because they were very Christian; the Christian Sámis learnt from the missionaries and the priests that the traditional songs were from the Devil, so they didn't teach them to their children, but they were singing the Christian hymns all the time. So I think I got my musical education in this way. And of course the traditional songs were always under the hymns, because it doesn't just disappear, the traditional way of singing.
Go back to the very beginning, when we first started playing in local pubs. We used to play Chuck Berry covers. Every now and then, we'd slip in one of our own songs, and we found that we were getting away with it - nobody seemed to know these were original tracks.
Song, songs kept them going and going; They didn't realize the millions of seeds they were sowing. They were singing in marches, even singing in jail. Songs gave them the courage to believe they would not fail.
He learned through the way that my father and I felt about his songs, his country songs, that they were great songs. And then he went out and sang them for the audiences that we found, and he found a tremendous reaction to that.
The only criterion we used in doing cover material was we wanted to do songs that we wished bands would play when we went out. We were doing Yardbirds and Rolling Stones cover songs-which is not any big deal, but where we were from, all we were getting were Top 40 bands.
The songs were really complicated. I used to meet people in bar bands who were trying to play our songs and they were really struggling with it. Technically it was really difficult stuff.
The day I was born songs were on records, phones were tied down, computers needed rooms and the web was fiction. Change the world. You can.
I learned so much watching my dad write songs and perform in front of thousands of people, and people were singing along to songs that I watched him write; it stuck with me.
We're a live band. Some bands write their songs in the studio - we don't do that. We're playing songs on this tour that were written three days before the tour. And it feels good to try these songs.
I used singing as a safety measure. I would pay attention to what songs the popular girls liked, learn those songs from the radio or library cassettes, and then "accidentally" sing or hum these songs in class. This would impress the girls, who would then defend me from the boys.
The first songs I learned were 'It Takes a Worried Man' and Woody Guthrie's 'Grand Coulee Dam,' 'Rock Island Line' - those kind of American folk songs that were probably on the edge of blues. After that was Eddie Cochran and Chuck Berry songs. And then I heard Muddy Waters, Jimmy Reed and Big Bill Broonzy on the radio.
Burlesque girls were alchemists. They were steel-tough performers who were willing to use kitchens as dressing rooms, haul their costume bags through the snow, and go into debt over fake diamonds, all for the five minutes onstage when they were goddesses.
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