Top 1200 Good Bands Quotes & Sayings - Page 6

I don't ever put down bands.

When it comes to girl bands, we're all rivals.

We[ Papa Roach ]'re always trying to get bigger and bigger. It's weird because I wasn't around when they sold millions of records. Now it's just always about "OK what new people can we get to." We're trying to package up with younger bands like Bring Me the Horizon or Of Mice and Men. Those bands always get talked about, because their demographic is so young. But, actually we are seeing a lot of younger people at shows which is awesome.

Sex is more openly spoken about than 40, 50 years ago, and I think probably in comparison to a lot of bands - certainly other contemporary pop girl bands - we're certainly not as suggestive. We talk about sex in the way that we would to our friends. As a girl group, I think it was important not to avoid those sort of things either, because it's about confronting people's idea of what women should be talking about and how they should talk about it. There's no point in shying away from subjects like that, because they exist.

I love marching bands.

I'd like to think that people see there's two ways to do things. You can put a lot of money into a band and force people to like them or you can just find good bands and people will like them anyway.

There are loads of bands I'd love to produce.

I think there is just this inherent understanding between us at a subconscious level when we play. It's like we anticipate each other's next move before it's made and we all land together somehow. It's that "something" that really good bands have that makes what they do unique. It's also something that is easy to take for granted, especially as the years spent performing together go by.

Bribes and boy bands. That’s all you need to be a babysitter.

A lot of the guys that I date and my friends are all in bands.

Perception is made up of bands.

There were so many bands in New Orleans. But most of the musicians had day jobs, you know -- trades. They were bricklayers and carpenters and cigar makers and plasterers. Some had little businesses of their own -- coal and wood and vegetable stores. Some worked on the cotton exchange and some were porters. They had to work at other trades 'cause there were so many musicians, so many bands. It was the most musical town in the country.

Sonic Youth is one of my favorite bands.

I don't like English bands. They're too structured.

I've played drums in bands since I was 16.

It's a pretty great thing to have a record that at the end of the day you're not totally sick of and you're actually proud of. We're pretty lucky, because a lot of bands come out with their first record on a label and they're forced to make decisions they might not stand behind because someone's telling them it's a good idea. We didn't have to do that. I think that's one of the things I'm most thankful for.

The bands I like are not obscure at all. Far from it.

We're doing everything we can to help bands from Buffalo.

There's no reason but luck that I'm in one of the biggest bands in music.

The Nineties was such an incredible period. There was this real sense of community and such a uniqueness to it. There were unique personalities, unique bands, unique lyrical takes. A lot of artistic expression. It was this real renaissance that was exciting to be a part of. It's hard to not look back on that period and say, "Yeah, it was crazy. But it was crazy good."

I collect head shots from bands.

I liked bands like Oasis and The Prodigy.

I'm a big fan of a lot of prog music. As a record collector as well, I won't throw anybody or any band under the bus, but a lot of the records are fun to collect, are not necessarily very good. There are a lot of prog bands out there that it's a really cool record, but it's, like, not really there.

Me and my bandmate having known each other and worked together for so long, the process between us is kind of effortless. We've both played in other bands and recorded things outside of Foxygen, but there's something about what happens between our personalities when we make music that works. Also, with it being just the two of us, we don't have the problems that other bands do. We don't have a bass player saying, "What about my parts?" We play all the instruments between us, and we don't really have much ego about that stuff.

We were playing a small club in San Diego and the power had gone out in the building. Eddie had a lighter and kept us lit backstage. We became very good friends and spent a lot of time together including hearing Eddie sing in some of the bands he was in at the time.

Nada Surf and Harvey Danger are good bands. I think they've just stayed true to why they play music in the first place, it's just because they love doing it and they love each other and that's the impetus for doing it, not trying to keep singles on the radio and on MTV.

I was in two very horrible bands.

Sonnymoon and Quadrants are a couple of bands that really inspire me in terms of the melodics of things and certain tones and just what feels good. It takes me back to the type of music that I grew up on in my household. We played a lot of gangsta rap, but we also played a lot of oldies, and I think that mix is part of what inspires my sound.

I consider us to be one of the first Internet-based bands, especially because we basically started our entire band via the Internet. Before MySpace Music even existed, we had a band MySpace page. We were one of the first fifty bands on PureVolume(.com), and we really built everything from the Internet. That's how we started talking to record labels, that's how we booked our first tours. Without the Internet social networking, like Twitter, we definitely wouldn't be where we are today. It is a huge part of the band.

Being in several, disparate bands is what I thrive on.

There's lots of bands where somebody will write lyrics and somebody else will sing them. It works for a lot of people, but that feels weird to me. I don't mean this in a bad way at all but it just feels fake.. I guess in my heart of hearts, whether the person has a good voice or not I want [the songs] to come from them. I don't know why.

I love British bands.

Sometimes you have to wonder if there isn't an ejector seat built into having a popular-music career. We were lucky when we started. We were already old when we started - you could have described our first album as "aging Brooklyn guys." We were in our late 20s. We weren't octogenarians, but a lot of bands were already younger than us. Fortunately, we've held on to our manly good looks.

There's always a Justin Bieber. Ever since I've been around, there's always been one of him. You know, you can trace it back from how old you are and the boy bands that came along then and the teen sensations and whatnot. And, you know, good for them. There's a few of them that make it out and a few of them that don't.

I'm always forming bands.

The world wants rock bands to be idiots.

There are no great jazz-fusion bands.

I was in a lot of bands growing up.

Bands should never break up.

I always loved bands with mystique.

I don't know any American rock bands.

Sometimes you might be a fan of bands but you don't know where they're from.

When I was in bands, I always liked the demo best.

That's always attractive to me, to work with music whose form is a big question mark. Even many of my favorite bands growing up, when I was just a kid learning to play drums and guitar and everything, were bands like Pink Floyd, where the arrangement, the number of bars in each section is unconventional and often lopsided, and there will be small little instrumental interludes and that sort of thing. So those odd forms, as well as dark content, are the things that I think are continuous through all the type of projects that I've been attracted to.

It's sort of a cyclical thing on the road, where you can be very tired one day and sick of being in the band, and then you have a great show and you feel completely revitalized. There are people that quit bands because they can't take the road. But, personally, I love it. I get a little tired sometimes, but it's good work if you can get it.

In the late '70s, the conditions that bands had to endure were, shall we say, not as civilized as they are today. People were a lot more aggressive back then. So there was definitely a lot of suffering for your art. But I would argue that was a good thing. Generally, people make better music when they suffer.

Had I lived in Norman and those bands hadn't existed, who knows where I'd be, I might be doing something awful; I might be a doctor, or a physicist or something. Having those kinds of experiences at 12...the Chainsaw Kittens had a flamboyant homosexual lead singer, and the Flaming Lips were obviously very weird. I had only listened to the radio before that - things like Willie Nelson - so having people say, "These are the bands around here that you should listen to," I was like "Ok, I guess this is what normal music sounds like." That definitely changed things.

On the good ship Lollipop Its a sweet trip To the candy shop Where bon-bon's play, On the sunny beach Of peppermint bay Lemonade stands, Everywhere Crackerjack bands, Fill the air, And there you are, Happy landings on a chocolate bar. See the sugar bowl Do a tootsie roll In a big bad devils food cake, If you eat too much, Oh, oh, You'll awake, With a tummy ache.

It is never wise to slip the bands of discipline.

I do question a band's longevity, because most of my favorite bands only made one or two good albums. After that, I didn't care about them anymore. Sometimes I wonder if people feel the same thing about us. The way I look at it is, if we can continue to inspire ourselves and write really beautiful music that we're proud of, I don't think there's any intention to stop.

It's not very often that I like new bands.

No, I'm sure that there's a lot of L.A. bands out there.

I've sung background for a couple of bands.

I like most bands.

Without Metallica, we wouldn't have a lot of the bands that we have now.

I think bands will actually make more money without record companies; a much bigger share of the money will go to the bands. You won't have record shops taking 40 percent of the money. You won't have record labels taking 40 percent of the money. So they don't have to sell as many albums as they used to in the past. So it's not necessarily a bad thing if record companies disappear.

When your 18th, 19, 20 years old like we were at that time, its just like anyone else, you look at like Silverchair and bands like that that are super young and sound extremely derivative of bands that were out at that current moment. As they sounded like 'Nirvana in pajamas' as we called them, we sounded like Bon Jovi and Skid Row and Motley Crue, because we were only influenced by what was out at the time because we were so young

All the serious bands, all the punks, came from Bristol.

I always wanted to be in bands.

He's a million rubber bands in his resilience.