A Quote by Tony Palermo
Papa Roach is actually a band that's great at playing arenas. Not every band is suited for that environment. But besides the huge energy you guys bring, the songs are very grand and anthemic. "Kick in the Teeth" being an example as a song that's made for huge crowd sing-alongs, not tiny little club shows.
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It's great when a huge amount of money goes from a dumb corporation into the hands of an awesome band with brilliant ideas who can use it to keep being a band for a year, as opposed to a band that's already huge taking one of those things - that's more pathetic.
The act of the being in the band has very little in common with writing songs. The songs come out of it, and the band is necessary for the songs to emerge, but the band doesn't exist just so the songs can emerge.
This is my dream. I ain't giving up. I see a band like the Red Hot Chili Peppers, and they've had their ups and downs, but they've continued with heart. We look up to that. I see Papa Roach being around for another 15 years. We've always wanted to be a career band.
We haven't started playing it live yet but we're going to. And then 'Warpaint' is a song that's really, really close to me because it's actually - we've had that song for many years now and it's changed so many times, it's been through every reincarnation of our band with every drummer, with sometimes with me playing drums, it was when we were a three-piece, every incarnation of the band that we've had we have played that song.
I was very impressed with Hanson's performance. I thought that little drummer was a kick-ass drummer, and uh, that they sang great, I mean I didn't know either, y'know, that these little boys, y'know, I was very impressed. I think they'll probably be around in 20 years writing good songs, and being a great band.
I think first huge gay following started out with our keyboard player Jesper Anderberg. When he joined the band we were still in high school, and he was two years younger than us. He has a really boyish look, so all the gay guys fell in love with him straight away. We have a couple of cute guys in the band, and we play that kind of music that will go in a club. And I was dating a girl for a while - that might have something to do with it.
My band is the best band in the world, period. So, I insist on every song being better than it is on the record. So by the end of the tour, we have to be playing the song better than how it's recorded.
More than 30 years ago, in Washington, D.C., I secured a copy of a single by a Los Angeles band called The Bags. The two-song 7-inch, released on Dangerhouse, had a girl on the cover who looked right at you with huge eyes. The songs, 'Survive' and 'Babylonian Gorgon,' were great and made many of my mix tapes.
When you have four guys in a room writing songs, it different. It's great - that's what makes a band a band. Audioslave was great.
It's a farmers market. You can get whatever - peaches, a sandwich. There might be a little band there. I'd sit in with the band. Yeah, that's what I would do. Sit in with the band at the farmers market. Sing a couple of songs, eat a peach, and hug people.
For me, the best part of being in a band is playing shows, all the raw energy.
I don't love playing new songs in a festival environment. Because when it comes to a festival a lot of people probably won't know your band really well at all so playing more familiar songs is a little more conducive in having a better show.
We're striving to stay in the arenas. We [Papa Roach] had just little things that just took our show a step up and were so stoked for that.
All those experiences were a chance to learn more about music. Playing with the Valley band is like such a "live" band. I mean, really, in many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio, we build the songs that way. Whereas Mystic Valley Band was the exact opposite, where everybody knows what they are gonna be playing on the song and there's sort of a general stylistic approach, and then it's just plug in and play.
It's been a long struggle. But we've made huge progress. I mean, when I started at Berkeley, women weren't allowed to be part of the band. No women were allowed into the male faculty club. I mean, I was there. I remember that! The worlds were so divided. So the change has been huge.
When I play with the full band, you get to be larger than life, you feel larger than life, and that particular moment in the song where there's passion, you've got nine guys behind you, all driving that sound and that feeling with you. That's like surfing a huge wave, because once you start you really can't stop it, you got it going down a huge mountain.
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