Josh Homme Quotes

The Nazz survived for 18 months - that was my first taste of fame on some level and of the overall experience of being in a band. There are good and bad aspects, and I got to taste some of both, and, well, it's not as much fun as what you see in 'A Hard Day's Night,' let me just say that.

For years I've wanted to find some guys that I could work with, because I realized a long time ago that I can do a lot of things other than Aerosmith.

By the time I did that third solo album, I'd finally learned how to do it, but I'd also learned that I liked being in a band.

Well, for the My Generation album, there was nothing to be nervous about in them days. We used to take every day as it came. Every day was just a gig and I think we did the recording between gigs literally.

Don't get me wrong: I love the great times I had with Static-X, but sometimes the writing/recording process was frustrating for me.

I know it's financially lucrative to go out on my own, but I don't like it. It's really hard work, just the performance aspect. I like people who look like they've been together for too long and sound like they've been together too long. I like rock n' roll bands.

We're real people and we're a band that's been playing on the scene for a long time. We've made a lot of friends, and one enemy we've always had was the NME. They've always basically slated us and they've basically never ever written about the music.

The first time Kyuss was about to get signed, they're like, 'We'd like to sign you!' and we just said, 'No! Forget it!' because we thought people were always trying to invade everything.

By the time most people file for bankruptcy, their credit is already trashed, they have a high debt-to-income ratio - a key indicator lenders look at - and they've likely defaulted on more than a few accounts.

Sometimes the problem is not the people in the band, but the people around the band.

When you first start writing a song, it's fun, then when you start recording it, it's fun, but by the time you've finished recording it, you're sick of it.

I've been in very many situations where I've not liked the other members of the band or they have not liked me. I grew up presuming that's the way music was made. It doesn't need to be that way. It's taken me years years to find that out.

Bad Religion took a long time to develop into gold-record-status artists. Along the way we learned and applied our knowledge, and Atlantic helped us every step of the way, since 1993.

In any case, Ives encouraged me to go into music even though he himself had such a hard time being a composer.

A touring band is a family and a workplace at the same time, and you're living with people you didn't necessarily choose every day for up to a year.

I was signed at 19 years old to a major label, and dropped by the time I was 22.

By the time I'm in the studio recording my parody, 10,000 parodies of that song are on YouTube.

By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.

My whole career began because I was always putting my music on the Internet. By the time I had my first tour, I had an audience everywhere I went, because people were listening online. I started with a website, Jasonmraz.com, pre-YouTube. You could e-mail me directly, and I would send you a CD.

Shoot, there's a committee to tell you everything at a record label. You definitely have to know who you are if you want to look like you at the end of the process. We've all seen people get record contracts, and by the time they're spit out by the machine, we don't even recognize them.

By the time my first album was out, I had been out in Jamaica three or four years, but I had hits out at that time that were bona fide hits.

I married two weeks after my 18th birthday, far too young, and by the time I was 23 I was a single mother of three small children, Sean, Daniel and Victoria, living in a prefab house.

Of course, we didn't survive to play all the way through the '90s, so I can say that - as I said, everybody in the band was aware of this, and we trying to figure out ways to make it different.

By the time The Band did The Last Waltz, the chemistry had changed, and it wasn't a thrill anymore to live that studio kind of life.

If you're in pop music, you've got to deal with the changing of the guard every few years. By the time the '70s arrived, I was well aware of the cyclical nature of the game. Pop music is a creature of the moment; it thrives on the mood of its time. Either you hook into that or you're not going to be part of it.