Top 1200 Rubber Bands Quotes & Sayings - Page 3

We were fans of Green Day and Nirvana or whatever, but the bands we really loved were Chicago bands that didn't really sound anything like Alkaline Trio.

Growing up I played in garage bands and cover bands with my older brother, and he got us a gig opening up for some hippie jam band. I was 15. I felt like such an adult!

In the studio, you can always stop, rewind and do it again, but on stage, you can never do that - it's a different energy. It separates good bands from bad bands, being able to play, perform and really capture an audience. I think that's the hardest part.

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.

Everybody needs some real rock in their lives...whether it's bands like ourselves, Aerosmith or Stones...or new bands like Five Finger Death Punch, Avenged Sevenfold...it's out there.

I played in garage bands and rock and roll bands when I was in junior high and high school and saw some of the great talents of all time in the local area where I lived.

Two of my favorite bands, Blackberry Smoke and Black Stone Cherry, I just think both of those bands are a good new progressive kind of Southern Rock that's a little different than us but still has a rootsy thing going on.

Unlike a lot of my cohorts from the '80s and '90s who totally blamed the shortness of their careers on bands like Nirvana and Alice in Chains and Soundgarden and whatever, I was very into a lot of those bands.

The girl that introduced The Smiths' song 'Asleep' to me was an important musical influence that I met in college. From there it's been an ongoing journey of different bands at different times, introducing bands and songs to me.

We were all 16 and 17. When you're that age, you're just daydreaming all day. We had bands we loved - Green Day, Weezer, a lot of bands in the '90s - and we just wanted to have fun. We didn't overthink it too much.

You had your black bands, and you had your white bands, and if you mixed the two, you found less places to play.

Playing live is a lost art, and you don't see a lot of bands that go out and play the way the older bands do. It's a celebration, and a lot of people treat it like a commercial or a distraction.

After graduating college in 2010, I got to work - writing and co-writing all the time, playing and touring in bands, playing for other people's bands, working in coffee shops all over town.

I don't like bands who would play music like Code. I mean I hate most bands with emotional singing parts (I adore metal singing like Iron Maiden though!)

There's a lot of hidden gems in the UK. You sometimes have to dig deep to find them, but there's still a lot of great guitar bands out there. So, in a way it makes you appreciate it more, but then a lot of bands do go missing also.

I don't know how these bands did it back in the '70s when they would crank out two records a year and tour at the same time, which is incredible to me. I have so much respect for all those bands working so hard like that.

There are bands that make parodies of being in a band, like Spinal Tap. That's a big influence. They're making fun of a rock band, but they write lyrics that are better than real rock bands.

There's a time and a place for a bit of realism, and it's bands like Arctic Monkeys that do it amazingly well. But why do bands have to recycle something that's already been done very well? We wanted to make interesting pop music, and to drop in literary references.

All the bands get along really well. That's one of the biggest things on a tour. It's great to get all these cool bands together, but if they don't get along it sucks.

So many bands have the same performance-based videos, and it's so lame. I know bands whose labels rent a crowd, so they have these fake audiences that jump up and down trying to make it look like a pit or something.

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.

I don't think anyone ever plans to change line-ups, but it's something that comes with being in bands. I was in a band once and there were always problems - members come and go - and some of the world's biggest bands have changed line-ups loads!

I've got friends in bands who seem like they're always on tour, even still. It may be in some people's blood. I'm sure some bands do it just to earn a living or for the experience.

All I really wanted to do was make an album that was going to be just back to what I like to do... And it was a coincidence that these new bands, this new wave of bands, were doing Alice and Iggy rock.

To be the music company of the future, you have to figure out a way to be a great business and distribution partner of younger bands, midsized bands, and ones that break out, like Arcade Fire.

Punk rock really influenced me, the basic metal bands, Zeppelin, Stones and Floyd, and Southern rock bands. I think I was pretty well-rounded.

There's an interesting thing I've seen with Australian bands: when you put them side-by-side with bands from other parts of the world, they're just more musical. They're just better.

We came along at a time when people were really focused on music. We were part of the second generation of bands after all of those great 60's bands when rock was still in its' infancy.

I followed most of the 80's bands into the 90's as most of those folks who hadn't moved away were all still active. However, there was a point when I lost track of the new bands coming up.

We grew up listening to so much hardcore: everything from the very early D.C. stuff - Teen Idols, Minor Threat, Dag Nasty, SOA, Government Issue - to bands who weren't straight edge, like Negative Approach. I really feel they were one of the greatest punk bands ever.

I tried so many different musics. I kind of burned out on classical and wanted to make it fun again. I started playing with indie bands and country bands and finally realized electronic music brought my style to life.

KISS has always been outside of the borders of what other bands can do. Not that some of these other bands wouldn't want to do it - the fact that they may snicker or look down their noses at what we do is more out of jealously than anything else.

I think the earnestness of what we're saying and what other bands like us are totally saying - or other queer bands - is 'We exist.'

I was in several bands before I joined Judas Priest. Being in those early unknown bands were the stepping stones, really, so I learned a lot in those short few years jumping from one band to another.

We let the lyrics be the focus of the song. Which is not what you hear with some of the zeitgeisty bands, like the War on Drugs, who I love, their lyrics are usually buried and The National, one of my favorite bands, Matt Berninger writes in fragments, in a very impressionistic way.

For music, I always just played music myself - and, I had rock bands and wrote songs and put bands together that were loud, but not especially good. That was sort of the place music had in my career.

We used to play the Savoy Ballroom, and we always had a boogie tune in the set. Bands like Tommy Dorsey used to do a little boogie woogie. The big bands.

Bands can become absolutely huge and actually be pretty terrible musicians, and bands can be the most amazing songwriters and musicians in the world and never play for more than 10 people. With that in mind, getting successful doesn't mean anything.

Young bands are so angry. There are young bands that are so incredibly successful, getting incredible reviews, and they are totally angry.

But, then again, I wouldn't call myself an indie-rock supporter even if there are some really good bands out there and there will always be some real good new bands.

As time went on, we formed a number of different bands. We played in rival, neighborhood bands. We learned more songs and we learned how to play Chuck Berry music and we learned Ventures songs.

I was in bands, but they were punk bands, and you plug in the guitars, you turn them up really loud, you've got four or five other people on stage with you, you've got some protection from when they throw lighters. You can always hide behind the lead singer or the bass player.

TALLAHASSEE LASSIE was a record I wrote with my mom. A number of other famous groups have also recorded it such as Led Zeppelin (I understand they are currently touring) and several other English bands and also some various "Punk Bands".

I like going to see live bands. Live bands can be quite heavy, but I think it's very relaxing at the same time because you feel so happy and chilled-out.

The bands that we've found we have something in common with are bands like The National or Tegan And Sara, and I feel like that's because all three of us come from more alternative rock backgrounds.

Bands that have positive lyrics that give people hope, I applaud them, you know I think we need to see more bands come out like that. I think it is great.

I'm finding it hard to listen to other rock bands. It's been hard for me for a long time, but now I can't listen to any new bands at all.

There were a lot of times where there was a great deal of fodder recorded and played, because there was a market for it - just as there is today. And there were more bad bands than there were good bands - I think that should always be remembered.

I have been doing merch' since I was 15 and in bands when I was a teenager - silk-screening shirts, making the emulsion in my mom's closet I converted into a dark room, through college. That's essentially how us bands survived was selling homemade t-shirts.

Sometimes I forget that the label's been around so long that some of the bands they're singing now might be influenced by the first wave of Sub Pop bands. Is there anyone on that label that you look up to or borrow from?

We had a wonderful department that scouted out new music. It was beneficial to Rolling Stone, because I would come back and say, "You have to hear this, you have to hear that," and I found a lot of bands to feature, emerging bands. It [ended up being] symbiotic.

I've played in bands myself, and sat on the floor photographing some of the greatest bands in the world while they rehearse. What's always struck me is how different the sensory, especially auditory, experience is when you're in the middle of the music with the musicians playing off each other around you.

All the universes are bound together by a web, a matrix, which is our perception. And our perception actually has colors; it has bands. We call them bands of attention.

When I got my record deal at Atlantic, at the time, 'indie' wasn't a style of music: it was a kind of label. And I think, eventually, the bands that ended up on those labels began to be branded as 'indie bands,' and then it became a genre.

For new bands, I think a major label is the safest place to be. Independent labels are the ones getting away with murder. A lot of them are hobbyists who rip-off young bands, taking advantage of people who would never get signed to a major.

I want to be able to shoot laser beams out of my hands at people. That's the kind of stuff that you think all bands should do, but they don't, and I can't understand why most bands don't want to do it.

I have seen so many bands and musicians fade away, especially the ones in my early days that treated me and my bands with contempt for no other reason than that they were headlining the show, not all though, with great exceptions such as Slade and Vinegar Joe.

I wasn't personally that familiar with the Classic Rock bands. That is where Jorn Viggo came in: he played me tons of that stuff - Deep Purple, Led Zeppelin, plus a lot of bands with cool songs, riffs, vocals, etc. We really listened to tons of music.

Until I was about 16 years old, my dream was to be a musician. I played in rock bands and jazz bands. Then I decided to be an actor and kept the stable career of 'jazz pianist' as my safety net.

I love punk, I love a lot of British Invasion bands, I love garage bands.