A Quote by Kevin Parker
Bands can become absolutely huge and actually be pretty terrible musicians, and bands can be the most amazing songwriters and musicians in the world and never play for more than 10 people. With that in mind, getting successful doesn't mean anything.
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I like to say that I do covers of my own songs. And I have about a dozen bands all over the world. That's no exaggeration. I have a South African band, an Australian band, Swedish bands, English bands, American bands. They're all notable musicians, too.
I think some of the musicians are more like punk rock musicians. It's like an art as opposed to being a musician. It's definitely more radical psychedelic bands, more than anything.
I don't know if i have a 'take' on L.A. The music community is enormous, from the studio musicians to the bands trying to 'make it' to the indie bands... so many bands... it can be overwhelming. But it seems healthy.
I get a chance to see new bands and new music. I've seen a lot of amazing local bands, bands that I think 'have what it takes', that they could become the next big thing. More often than not it doesn't happen.
Well that's probably what'll end up happening: a load of really good musicians who can't afford to be in bands, who have to have day jobs, you know what I mean? And then that's when you start losing a lot of the live touring bands.
I have no problem with bands using participant financing schemes like Kickstarter and such. I've said many times that I think they're part of the new way bands and their audience interact and they can be a fantastic resource, enabling bands to do things essentially in cooperation with their audience. It's pretty amazing, actually.
I think the whole concept behind lyrics is you better mean what you say, or you should like, become a storyteller. I mean, there's a lot of bands who are just storytellers, and then there are bands who actually have something valid to say. And the bands who have valid points are few and far between.
There were definitely bands and musicians I liked that drove my mother insane. I probably liked them all the more for it! Bjork drove my mom nuts. What I listened to was actually pretty mom-friendly for the most part. I wasn't very rebellious.
I have seen so many bands and musicians fade away, especially the ones in my early days that treated me and my bands with contempt for no other reason than that they were headlining the show, not all though, with great exceptions such as Slade and Vinegar Joe.
I'm always going to get more of a charge playing Chicago than I will Duluth or some place like that. Just because of the history and the people there are way more knowledgeable than a lot of other cities. It's an amazing music scene with some great bands and great musicians.
There were so many bands in New Orleans. But most of the musicians had day jobs, you know -- trades. They were bricklayers and carpenters and cigar makers and plasterers. Some had little businesses of their own -- coal and wood and vegetable stores. Some worked on the cotton exchange and some were porters. They had to work at other trades 'cause there were so many musicians, so many bands. It was the most musical town in the country.
Christian musicians today, minus about ten bands, have never had to fight to be accepted or heard like general market bands have to make a living. It's just overlooked that the Christian market is safer and more lucrative, but requires musicianship that applies to the lowest common denominator.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; we've become the most famous bad orchestra in the world.
I've played in bands myself, and sat on the floor photographing some of the greatest bands in the world while they rehearse. What's always struck me is how different the sensory, especially auditory, experience is when you're in the middle of the music with the musicians playing off each other around you.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; weve become the most famous bad orchestra in the world.
In New Orleans, people are still influenced by one another. You got these bands that play every week on Frenchmen Street, and on their breaks, they might go see the reggae band that's right next door. You might get the musicians from the reggae band to sit in with the brass musicians. Everyone is having fun.
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