A Quote by Martin Kemp

When you're in a band you can stay a teenager for years; my mood was determined by what number we were in the charts. — © Martin Kemp
When you're in a band you can stay a teenager for years; my mood was determined by what number we were in the charts.
When you are in a band for a number of years you loose your identity in a way. You become a part of that band and then all of a sudden you are not part of that band. You are still the band without the other two members.
Belushi was one of my very first heroes. At a time when film, television, and music were undergoing tectonic shifts within American culture, he was at the center of it all. At that moment, he had the number one show on television, the number one film at the box office, and the number one record on the charts.
The packaging of Led Zeppelin's IV doesn't have the name of the band, doesn't have the name of the album: It's got a guy on the cover with a load of sticks on his back. This record didn't quite get to No. 1 in the United States - it went to No. 2 - but stayed on the charts for years and years and years.
I was 17 years old and in my first band, and we played at the university. I was kind of a gawky, unpopular teenager and there was about 400 people smiling and dancing to what we were doing.
I always thought my records were number one; it's just the charts didn't think so.
I was raised Catholic, and my grandmother taught me to stay. As a teenager, I thought if you went on a date, you should stay for a couple of years. I didn't realize that if he wasn't your cup of tea, you got to leave.
Things like, people saying the new album would debut at number one on the Billboard Charts in the U.S. and I said, "No it's gonna be number Three." Because Number 3 is a very powerful number on the album. It's repeated quite often. Then it did chart an Number 3. Was it a coincidence you decide. If your in touch with your subconscious, you can really use it to your advantage
The first colour charts were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvases that followed, the colours were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a number of rigorously defined tones and proportions.
If you're making music, you must want to turn other people on to it, whether you're number one in the charts or number 60.
It is not the number of years we have behind us, but the number we have before us, that makes us careful and responsible and determined to find out the truth about everything.
What does surprise me, though, is the amount of attention this band [Guns'n'Roses] has garnered 11 years after the original lineup broke up. That's an interesting phenomenon. It was even interesting back in the day. I mean, [we were] this glorified garage band. It was a great band, but it was not the kind of band you expected to become what it has.
I remember the kind of teenager I was, the kind of teenager I wanted to be, and then the kind of teenagers that were all around me. Life is lived on such a big scale in those years - and such an embarrassing one as well.
People don't seem to care about convictions any more. When I was a teenager, the deal was that, y'know, you had a band that you were really loyal towards, almost to a fault, and you stayed really loyal to that band. That was the whole thing, that was such a big deal.
Since I was a teenager, I wanted to be in a band with my mates: my pure image of a band.
Since I was a teenager, I wanted to be in a band with my mates, my pure image of a band.
Music’s the soundtrack of my life and has been since I was a teenager. There’s always music. If I’m not playing it, I’m listening to it. With my writing... sometimes it inspires a story, sometimes it highlights something I’m working on, sometimes it simply helps me stay in the narrative mood.
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