A Quote by Rhiannon Giddens
That was the special thing about the Carolina Chocolate Drops. We didn't want to do music full-time. We weren't looking to get rich, which is good, because we didn't. But we went further than we thought we would go. We started that band to celebrate Joe Thompson and the black string band music. That's not really a recipe for commercial success.
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I'm 13 to 17, 18 years old; I thought that's what the world was like. It never occurred to me that this was a very unusual period in music history. So I went on assuming that one day I'm going to have my band like my heroes had their own band. So people ask me this question all the time - they go, "Bass is basically a background instrument." The other thing is that in urban music, Black music, the bass has a much higher profile.
I am one hundred percent dedicated to Hellyeah. I love what I do in this band. I'm really proud of this band. Everybody in this band is such a special person, and the music that we make together, I really believe, is very special and the next level in my life.
I’ve been making electronic music for twenty some odd years but, because I grew up playing in punk rock bands, when I started touring, I thought in order to be a viable touring musician I had to do it with a band. I would DJ or tour with a full rock band.
We're not here as a black band playing white string band music. You know, we play stuff in the Appalachians, we play stuff in the white community, but we really highlight the black community's music.
We went from being thought of and talked about as "a band that plays a so-and-so style of music" (a grunge band, a stoner band, etc) to "a band that plays music with a certain sensibility or style to it". I'm not able to see quite what that is, but it's there and some people like it a lot.
There's very notable dynamics in all of the collaborations I've done. It's hard to say if one is more important than the other, but if I had to think of all situations and point to one band that I enjoyed most it would be when I was eight years old. I had a band with my little sister and the kid across the street. We sat around all day playing music and it was bliss. I didn't have any expectations or do it for anyone or worry about selling an album. That was really my favorite band. We were called Hot Chocolate.
My dad was all about music. He was a musician, leading a band when I was born. His band was active all through the 40s. He'd started it in the late 20s and 30s. According to the scrapbook, his band was doing quite well around the Boston area. During the Depression they were on radio. It was a jazz-oriented band. He was a trumpet player, and he wrote and arranged for the band. He taught me how to play the piano and read music, and taught me what he knew of standard tunes and so forth. It was a fantastic way to come up in music.
When I'm representing my music live I think of it very much in a rock band sense. When I first started doing festivals in the 90s there really weren't other DJs playing the stages I was playing. So I felt I was being afforded an opportunity to kind of make a statement about what DJ music can be live. In the 90s, if you were a DJ you were in the dance tent, and you were playing house music and techno music. There was no such thing as a DJ - a solo DJ - on a stage, after a rock band and before another rock band: that just didn't happen.
I started playing piano with a little band in high school. I was terrible. I thought I had absolutely no talent. I couldn't keep time. I only got into McGill, which was a lousy music school, because they were taking American music students.
A lot of the music is the kind of thing I grew up with, listening to it with my parents. So there was a band in London called the BBC Big Band, and I sang with them. And I had never done a big band before, and it was just so fantastic and I had such a good time...so that's how it all came about
It's kind of dumb; everybody should be able to listen to the kind of music they want and just because you're a fan of a band for a longer period of time doesn't mean you have a greater stake of claim to the band or the music.
The fact that I'm a fifth of Punch Brothers... that's lucky for me because I feel like I get to operate in the context of one of the great string bands. There's just not another string band I would rather be in, and i'm just compelled to make music for and with string bands. It's what I know, and it's kind of like who I am.
We never considered ourselves to be a good band or anything, we just thought we were playing for fun and we wanted to play music that sounded like Black Sabbath or Soundgarden or the music we were into at that time.
A weird thing about Gossip that I've always said: 'If I weren't in this band, I would never listen to it.' But I would go see it. It's a band you would go see that you don't necessarily listen to. We've always wanted to do a live album because personally, I think we're a way better band live than on record.
When I first started doing stuff outside of Hot Chip, I got the impression that Joe Goddard was a bit concerned. But I said, "I really want to record these songs quickly and not turn them into dance music." And he was fairly supportive - maybe not wholly supportive. But then you learn that no one's about to quit the band, so it seems good and healthy.
When we first started, I didn't know there was Christian rock or Christian music. I just thought we were a rock band that stuck to our convictions... Like every other hardcore band out there sang or screamed what they thought, we did the same thing.
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