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When I'm onstage, I hope it looks like what I want to see - the lights, the pyro, the band.
The Stones are not the kind of band that want to get in the details. That's why they have a producer and engineer - to pull the magic out of them and make them sound so great.
I have always believed that if you are honest in what you do, continually reinvent yourself at the same time, and there's respect amongst your band members, then you will be respected.
I've never understood musicians who don't enjoy doing promotional interviews. I just can't believe it. I always think, 'Your life must have been so brilliant before you were in a band.'
People expect us to be a straight up dance band but there are many more elements to our sound that you really get to see during our live show and hear on our record 'See The Light.'
Later after college I discovered Gang of Four, Buzzcocks, and those kind of bands. My tastes have changed but I still carry a lot of the influences from my youth.
Doesn't every band sort of appropriate their influences into what they do? I guess that would be my defence: if you're making something, you kinda can't help being a conduit for other things.
If I'll be a President the inaugural balls will be replaced with an inaugural Rock Band party. For expert-level players only. Don't even think about getting on drums. I play drums.
Everything I've ever wanted to do, we've kinda done. Everything beyond this has been just the cherry on top. I've been so happy with the band, and we're so lucky and blessed to be able to do it.
I wish to be put away in a western dress I designed, with my daughter's little gold cross necklace and my son's small white testament in my hands, and my wedding band on.
What is the impulse that drove to direct? To me, it seems so immense. Just having a rock 'n' roll band, or to go from the solitude of writing and to having to collaborate, is almost schizophrenic.
Talking about music and talking about drums brings me back to my beginning and the simplicity, and the excitement about trying to play something and see if it works for your band.
Not only was it enough to be a cover band, it was perhaps the highest calling. After all, if you could play music recorded by others, stay true to the original, and still add fire and flare, why not?
We [The Replacements] formed as a rock and roll band, and that was the path we chose to take. Whenever we deviated from it we felt, unless everybody was into it, there was tension.
I just think that the way the industry is changing and the world is changing, it might make more sense in two years for bands to have a different band name every time.
Anyone who knows the history of the Pete Best Band or the Combo, we were on the verge of breaking in in America. In the mid-'60s, I had great songwriters; we wrote some great stuff.
There was never going to be a right time for a band that was still recording and had health in its environment, had made a very good record and was playing well.
If you want to achieve something, you have to work a little harder and get out of your comfort zone. That is with everything: relationships, the band, music, athletics. All of the above.
If you started in New York you were dealing with the biggest guys in the world. You're dealing with Charlie Parker and all the big bands and everything. We got more experience working in Seattle.
The Impressionists had to fight the gallery system for many years before becoming accepted. One of their methods of fighting was to band together and hold their own shows.
It broke my heart when my first band split up. I was 25 and we'd been together since we were 15. But it had to happen. There was a point when I knew I had to move on.