A Quote by Mark Foster

I look at bands like the Beach Boys, Hall & Oates and Blur, and those are the bands I want to be in company with because their songwriting is intelligent, and yet you don't need to be a musical genius to pick it up.
We've grown up on the Beach Boys and the Beatles and Blur and Bowie and the Clash. Also E.L.O. and Hall and Oates. Those are all artists who write songs that are accessible but still left of center. It's intelligent pop. There's still something different and complex about it.
I think there are plenty of good bands out there, but the great bands aren't affected by what's going on around them, trends and all that and competing with other bands and wanting to be the biggest, we find that happens a lot. Bands look at other bands and think: that's what I want, you know? I think that remaining.
There isn't one album that says 'Hall & Oates.' It's always 'Daryl Hall and John Oates.' From the very beginning. People never note that. The idea of 'Hall & Oates,' this two-headed monster, this thing, is not anything we've ever wanted or liked.
I was just obsessed with bands like Third Eye Blind, Matchbox 20, Everclear - those were shows I was going to. A lot of those bands definitely inspired me. Those bands' songs are powerful enough that they can last forever.
Imagine a music business where all the music press talked about, all day long, was cover bands of old rock and pop groups. Beatles cover bands, Rolling Stones cover bands, The Who cover bands, Led Zeppelin cover bands. Cover bands, cover bands, everywhere you go.
A lot of bands are influenced by other bands, and that informs their songwriting for sure. It definitely informs my songwriting, too. But it's more about not thinking about it, and if it comes out of you, it's better.
In the 80s there weren't so many bands around and nowadays there are a lot more bands around. I think sometimes there are too many bands. But there are a lot of interesting young bands around. They are not really playing the classic metal stuff, that's up to the old bands.
Growing up, I went to the Warped Tour a lot, and I got to see bands like Rancid and AFI and Dropkick Murphys and these bands that meant so much to me when I was a kid - all in succession on these stages, so to get to play that same stage that I watched those bands play is a huge thing for me.
There are bands that I got into when I was 15, when I was mad at my dad and just wanted to be different. I don't think I'd give those bands half a chance now. But I hold some kind of nostalgia for them that I won't let go. Bands like Minor Threat and Black Flag.
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.
Bands like - even Kiss to a degree - bands like Kiss and Motley, Ratt, Poison, Bon Jovi - I just think the days of those bands going out and selling ten or twelve, fifteen million records like they used to do back in the day, it's not happening.
I named it that because more or less each person from the band used to play in other bands and when we left respective bands other members from those bands all sort of changed round. It was a big sort of move thing. I got it from that, I suppose.
The songwriting of Hall & Oates is deceptively complex. There are a number of key changes that pass you by as you're listening to the song because they're so seamless and clever.
Look at the New Kids on the Block, the Back Street Boys and *NSYNC... all those boy bands happened because of New Edition.
I was always proud of the fact that Spandau and Duran Duran were like Oasis and Blur or the Beatles and The Rolling Stones - where you pick two bands of a generation and you're either on one side or the other.
So many bands have the same performance-based videos, and it's so lame. I know bands whose labels rent a crowd, so they have these fake audiences that jump up and down trying to make it look like a pit or something.
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