A Quote by Steve Porcaro

I was in the band for the first six albums. — © Steve Porcaro
I was in the band for the first six albums.
My first contract was in 1965. There were six of us in this band - my band before Deep Purple - six in the band plus management, and the entire royalty rate was three-fourths of 1 percent.
Like all bands, the first two albums are always the ones most written about, and the most covered. When a band gets to their third of fourth album, the story of the band has already been told.
I pretty much built a band out of the most incredible guys I could possibly find. I didn't really want a six-piece band, but it just ended up being a six-piece band because these guys are all awesome.
When I formed the band and created the Wildabouts with my friends, we decided we wanted to make a band-sounding album, a rock-sounding album. I made two solo albums before that were more experimental albums, and I think that they didn't really resonate with my fan base because they were too out-there, too artsy.
When I was a kid, my friends and I formed a band, Trombone Shorty's Brass Band. When I was six, I was a bandleader for my brother's band.
When I listen to a band like Pink Floyd, I don't know the names of the individual songs, I know the full albums. That's what we want for our albums.
I remember the first time I received a cassette tape of a band called The Clash. I became an instant fan of the Clash and then bought their albums after that and went to their concerts and gave them my money... but I first got it for free.
First of all, I've been having a wonderful run of luck with cover albums, songs I didn't write. I had five pop cover albums and two Christmas albums, and they were all very successful.
I ended up writing songs and growing up in public with my songwriting. And it's a good thing for me back then: in the early '70s, there was a thing called artist development, where an artist could find his feet, find himself, find his voice. I think I made five or six albums before I sold five or six albums.
It was my band. I organized the band and Dizzy was in the band. Dizzy was the first musical director with the band. Charlie Parker was in the band. But, no, no, that was my band.
All the things that we had initiated in the first few albums still existed on 'Technical Ecstasy.' The band had not lost any of its vitality.
My shows have never been related to my albums at all because my albums have all kinds of crazy instruments and stuff that could never be performed live. I'm used to people expecting this 12-piece band to show up with three drum sets and an accordion.
The albums I did around that time probably wouldn't have been the same without Ecstacy. The first three Soft Cell albums... were all really albums that were just done around Ecstacy and the whole E feeling.
A lot of my favourite songs have Eno involved, but I love the work he does on the first two Roxy Music albums. He's creating atmospheres as opposed to composition, and it's a beautiful mixture with everything else in that band.
Tame Impala has two lives. One is the album, which is like a producer, and the other life is like a band: more of a live incarnation where we're basically a covers band for the albums that I produce.
We've shown everyone we are musicians first and foremost: we'll produce our own albums and play The 100 Club. We earned people's respect. We're not the band on MTV, wearing a bunch of makeup. We've proved we're the real deal.
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