Quotes About Band

Thank you for the music, Sleater-Kinney. This gang of three was the best American punk rock band ever. Ever.

I'm thankful for everything good and bad that happened to our band.

In a way, it's my way of dealing with, finding closure with Grateful Dead music, and giving thanks in a way to Jerry and Bob and all the guys in the band for making up this wonderful music.

I didn't love Jim Morrison. There was something very reptilian about him. And I didn't care for his singing, but his band! The Doors were fantastic.

The Doors were never that good as musicians.

The Doors were successful. It was Jim Morrison as the centre and the figure and the spokesman, the figurehead, but we were all into the same thing. That's why we were a band.

All of the Doors' albums are great. I could go on and on about everything that band did. 'L.A. Woman' is phenomenal. But I have to say, 'Strange Days' is it for me. That's the one I always gotta listen to.

There were some hardcore fans who thought I was ruining the band they loved. And now there's this document, 'The Doors Unhinged,' which, hopefully, they'll take away that I was trying to preserve the band they love and its legacy.

The Doors are Ray, Robby, Jim and John.

One of the greatest live recordings, I think, in the history of the world is Ray Charles in Atlanta... And they didn't even have a big mobile recording thing set up. The word on the street was they only had like two microphones, one for the band and one for him. Perfect recordings. I think it's mono.

I did some stage when I was a kid, around 16 or so. I was living in Melbourne and had a band. I was quite young. We weren't very good. Then I found a band in Perth. We played around for three years. We're in the 'History of Rock'N'Roll,' a book about Perth music.

This band isn't mostly about being a political protest band. We want to entertain; we want to give you a good time. At the same time, if you look through the history of Priest, there's always been an intelligent factor.

The history of Pantera speaks for itself.

I was with Nightwish for such a long time that I still feel the band as a part of myself. I was one of the most important elements in Nightwish for nine years, and the band was an essential part of myself too.

When you get down to it, the way that the music affects you individually is the most important thing, and when you let things like the location of a band get in the way or have an effect on your overview, you're cheating yourself out of a really good time.

I have a lot to do with the writing, and also the production, but it would be wrong of me to say that I'm the most important member of the band, because everybody is important the way I see it.

I don't necessarily enjoy playing concerts, although that has gotten more fun with a band. But the one thing I always have enjoyed is making records and being in that creative environment. And that has become a lot more enjoyable having other people involved.

The only thing that was economic, I might say, about my music career, aside from the fact that I did everybody's tax returns in the band, was the decision I made to leave the music business on economic grounds.

I had always wanted to make music on a big scale but never knew how it was going happen - until I saw a band in Oslo called Bridges. I was stunned. They had everything. The only thing they didn't have was me. I knew I needed to join, not for my own sake but for the band's. I knew I was a necessary ingredient.

I think partly the problem with Yes - and I've had this discussion with people from the Hall of Fame in the past - is that it's going to be difficult to decide how many of the members of Yes you're gonna put in it and how many you're not because of the extensive membership of the band through the years.

I think, back when I was younger, I was a lot more confident about certain things that I would write, and I didn't need the band's blessing or agreement; I would just kind of fight for it 'cause I knew it was good. And then the problem with getting older, especially when there's some success involved, you have a different measuring stick.

In the real world, people just get on with their lives. And that's where AC/DC come in.

For a while I was perfectly happy not performing with 'The Who.' From 1982 to 1989 I felt 'The Who' did not exist. I let the band go, in my heart. However, Roger Daltrey had other ideas. He would not let go.

I felt that The Who had ended because we'd lost touch with our original Shepherd's Bush audience.