Dave Grohl Quotes

Punk-rock records came out and you bought whatever you could find. But Devo didn't happen for another three years. Sex Pistols didn't tour the States until '78. At that time, for me, it was really about CBGB, Patti Smith, Talking Heads, the Ramones, and Television.

Back in 1981, the chances of a punk-rock girl band from L.A. doing what we did was completely nil.

In the high-stakes and elitist world of music collecting and fandom, we operate from an ab ovo perspective. The seed, the first incarnation - that is the most pure, the most lauded. Minutemen trumps Firehose, Throwing Muses beats Belly, Joy Division over New Order, Operation Ivy ruled Rancid, Undertones instead of That Petrol Emotion.

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

A lot of punk rock. I listen to various stuff just cuz my friends now listen to a lot of different bands. I listen to a lot of underground stuff like jungle music.

I think some of the musicians are more like punk rock musicians. It's like an art as opposed to being a musician. It's definitely more radical psychedelic bands, more than anything.

When Punk Rock happened, it created an opening in the culture... it made it ok to think you could play music, even though you had no musical training.

Punk-rock gave music back to people. For a long time, when I was very young, I went to go see arena rock bands. I was 16 and it was all I could get in to see, legally. And I saw Led Zeppelin and Ted Nugent and Van Halen and all that. Me and [Minor Threat and Fugazi vocalist] Ian MacKaye would go to these concerts, and it was fun.

Mixtapes have always been a guerrilla-style means of moving music.

Growing up in Orange County, it was all O.C. punk, L.A. punk. Black Flag, all the SST stuff.

When punk came along, it made perfect sense to me. I found it melodic. The Clash, Buzzcocks.

One overlooked great 1980s rock n' roll band, maybe punk rock - they were on SST Records, same label as Black Flag - is this band called the Leaving Trains.

More than 30 years ago, in Washington, D.C., I secured a copy of a single by a Los Angeles band called The Bags. The two-song 7-inch, released on Dangerhouse, had a girl on the cover who looked right at you with huge eyes. The songs, 'Survive' and 'Babylonian Gorgon,' were great and made many of my mix tapes.

All the music I listened to in high school that I loved and that moved me wasn't the same music other kids were listening to in school. I got into punk rock and new wave, then dub and hip-hop.

If I opened a record store, it wouldn't be all punk rock and esoterica.

Playing in London in 1979 was exciting: it was at the start of new wave, the transition period after punk, and there were a lot of radical, fashionable young people on the streets and in the venues.

To be involved in the subculture of punk rock puts you in a minority.

I was really into Blink-182 and punk bands like NOFX and MXPX.

I came up in the punk rock scene of Seattle.

When I joined the band, I hadn't been introduced to a lot of these bands on the scene - no emo bands or punk bands. The only band I knew was My Chemical Romance.

Back in the day, I was definitely a child of alternative radio.

I got into Nirvana, and it was my sort of awakening into the idea that music could be like rough and crazy and local. And so I started to realize that there were bands playing in my town, Anacortes.

Bath was hardly known for its rock'n roll. We weren't part of the London scene or the New Romantics or any of that.

If you go back and listen to the album 'Name' was on, there were a lot of garage songs on it.

Los Angeles produced the Beach Boys. Dusseldorf produced Kraftwerk. New York produced Chic. Manchester produced Joy Division.