A Quote by Tony Kanal

We want to sound modern, but we're still influenced by ska, reggae and Eighties U.K. bands. — © Tony Kanal
We want to sound modern, but we're still influenced by ska, reggae and Eighties U.K. bands.
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.
In Hawaii, some of the biggest radio stations are reggae. The local bands are heavily influenced by Bob Marley.
There is a definite sound with all-girl bands, a good rudimentary sound, and that's what's cool and punk about all-girl bands that you still find, largely - it's really kind of primal.
Look, the Jamaican dancehall stuff, the reggae influences and the ska influence, are always going to be part of our DNA.
Neville and I are big fans of ska. He's actually more into original, Jamaican, skinhead, two-tone ska from England, but I'm more into punk ska - Operation Ivy and stuff Rancid would do.
The Police, they were the guys that were like the gateway to the mainstream. In England, there was a very strong reggae movement that was going on. Anything that was happening in reggae happened out of England. They were brilliant. They could spot a sound that was cool, the 'it' sound.
When I lived in the U.K., I recorded a lot of ska and rock-steady styles of Jamaican music. But people there weren't accepting it. So I began using a faster reggae beat.
For me, reggae music and its aesthetic are touchstones in both simple and complex ways. Reggae's capacity to be a folk music that is created in a wholly modern context of the recording studio (and sometimes that is the sole performance space) is riddled with the kinds of contradictory impulses that we have come to expect from the post-modern. I revel in this, for it gives me, shall I say, permission.
I played in ska bands and like all kinds of music.
The really cool thing about reggae music is that I can get away with saying spiritual things as a reggae influenced artist that I couldn't get away with saying as a rock artist. Reggae has such spiritual roots and people almost expect to hear spiritual things.
Some bands sound like one song the whole album through. We've been all over the place because we are punk, hardcore, rock n' roll, metal, reggae - and I think sometimes it might be too much diversity, and kids are lost.
I know when I started I would have been happy to sound like the Beatles or Joe Tex or whoever. You want to sound like most bands, you want to sound like their records and that's how you learn your chops.
Modern Art is being used to index me. Surely it was a source but photographers have influenced Modern Art quite as deeply as they have been influenced, maybe more. Anyway painters don't have a copyright on M. A. We were all born in the same upheaval.
A lot of bands are still just bands that artists ask to get involved, but a lot of artists are using sound they create. This is different from referencing music.
In the early part of the '70s, we had glam rock, but we also had reggae and ska happening at the same time. I just took all those influences I had as a kid and threw them together, and somehow it works.
I have been influenced by the greatest artists in jazz, pop, reggae, traditional, ballards, pop, and all types of music, taking the best from each to represent my own personality. Whitney Houston, George Michaels, Sade, Phil Collins, and many others have influenced me.
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