First Quote Added
April 10, 2026
Latest Quote Added
"Come, come, come and make eyes with me Under the Anheuser Bush Come, come drink some "Budwise" with me Under the Anheuser Bush"
"Tina Weymouth can hold her own among the best bass players in the world. That's been the case for quite a long time. Weymouth’s punk-tinged, funk-infused bass lines have influenced countless women to pick up a bass and follow a path that is not foreign in the modern day. Whether we're talking about her work with Talking Heads or her own band Tom Tom Club (with husband and fellow Talking Heads drummer Chris Frantz), Weymouth has always delivered the goods. She plays with confidence and continues to innovate."
"America, I raised a boy for you. America, you'll find him staunch and true, Place a gun upon his shoulder, He is ready to die or do. America, he is my only one; My hope, my pride and joy, But if I had another, He would march beside his brother; America, here's my boy."
"Men grow cold as girls grow old And we all lose our dreams in the end, But square-cut or pear-shaped, These rocks don't lose their shape: Diamonds are a girl's best friend."
"For those of a certain age and spanning older generations, Dunn might be most recognizable for his appearance in the beloved comedy The Blues Brothers. However, Dunn's contributions as a bass player and to the music industry are much more expansive and celebrated. Dunn was long considered one of the great session musicians of all time. From his days at Stax Records until his death in 2012 at 70, Dunn was one of the most sought-after bassists around the globe."
"Robert Johnson is the greatest blues guitarist of all time and one of rock’s founding fathers from the pre-World War II Delta blues era. [...] The first guitar hero, Johnson had the attitude to go with the chops. His tragic death in 1938 at the age of 27 has made him an icon for those who also mourn Jimi Hendrix, Janis Joplin and Jim Morrison."
"The original and, many would argue, the best. Robert Johnson, bluesman of fabled lore, with his unearthly tone and his deal with the devil, is barely even a real person any more. If it weren’t for the few scant, scratchy recordings we have of him, it’d be easy to let the myth overshadow the man. But those recordings, beamed in from another age, are raw proof of a talent that defies explanation. He did things with his fingers that people are still trying to figure out, and wrote songs that live on in the DNA of all popular music. His legacy, like some Mississippi Van Gogh, far outstrips his lifetime achievements, and he will forever remain the demon king of the delta blues."
"Way ahead of his time, and the forerunner of every top-tapping, open-tuning, harmonic-loving acoustic warrior out there, Michael Hedges was a trailblazer. Close your eyes and you could be listening to three guitarists. Open them, and it’s just Hedges, dancing his way across the fretboard, breaking boundaries for fun. A great talent taken far too soon."
"It’s fun to watch these guys live and see their virtually identical soloing styles. Jeff Hanneman, with atonal runs going up and down the neck, finished with a whammy bar dump! Kerry King, with atonal runs going up and down the neck, finished with a whammy bar dump! These guys were made to be in a band together – because they would sound terrible in any other band."
"A-breakin' rocks in the hot sun I fought the law and the law won I fought the law and the law won I miss my baby and the good fun I fought the law and the law won I fought the law and the law won."
"In the Big Rock Candy Mountains There's a land that's fair and bright Where the handouts grow on bushes And you sleep out every night Where the boxcars all are empty And the sun shines every day On the birds and the bees and the cigarette trees The lemonade springs where the bluebird sings In the Big Rock Candy Mountains."
"We will welcome to our numbers the loyal, true and brave, Shouting the battle cry of freedom! And although he may be poor, he shall never be a slave, Shouting the battle cry of freedom!"
"In the Big Rock Candy Mountains All the cops have wooden legs And the bulldogs all have rubber teeth And the hens lay soft-boiled eggs."
"Love is all around, no need to waste it You can have the town, why don't you take it? You might just make it after all."
"When Johnny comes marching home again, Hurrah, hurrah, We'll give him a hearty welcome then, Hurrah, hurrah; The men will cheer, the boys will shout, The ladies, they will all turn out, And we'll all feel gay, When Johnny comes marching home."
"Born on a mountain top in Tennessee, Greenest state in the Land of the Free, Raised in the woods so's he knew ev'ry tree, Kilt him a b'ar when he was only three— Davy, Davy Crockett, king of the wild frontier."
"I'm a-goin' to stay where you sleep all day Where they hung the Turk that invented work In the Big Rock Candy Mountains."
"The Union forever, hurrah! boys, hurrah! Down with the traitors, up with the stars; While we rally round the flag, boys, we rally once again, Shouting the battle cry of freedom!"
"I wish I was in de land ob cotton, Old times dar am not forgotten; Look away! Look away! Look away! Dixie Land! In Dixie Land whar I was born in, Early on one frosty mornin', Look away! Look away! Look away! Dixie Land! Den I wish I was in Dixie! Hooray! Hooray! In Dixie's Land we'll take our stand, to lib an' die in Dixie. Away! away! away down South in Dixie. Away! away! away down South in Dixie."
"I'm a Yankee Doodle dandy, A Yankee Doodle do or die; A real live nephew of my Uncle Sam's Born on the Fourth of July."
"Look, I can get into anything I write about. I can write about serial killers; I can be a fucking Satanist. I’m not a Satanist, I’m an atheist, but I write the best satanic lyrics on the fucking planet. And it’s great entertainment. And religion is the funnest thing to make fun of. [...] I remember back in 1990 during the Clash Of The Titans tour [with Anthrax, Megadeth and an unknown Alice In Chains], we had this religious talk-show guy Bob Larson out doing a special story on us for Spin magazine. Me and Jeff [Hanneman, fellow Slayer guitarist] have always been very similar in how we think about religion and atheism. So we’d listen to this guy – as I believe you should; you should always hear people out. But whenever I tried to question his beliefs, he’d go on the defensive and say: ‘It’s because the Bible says so.’ So then I’d ask: ‘Who the fuck wrote the Bible?’ Because to me it’s like a fairy tale that has been translated many times. And that’s when I realised these people are just fanatics. That’s when the seed got planted in my head to write about them. Because they really are out of their fucking minds."
"Even though [Hanneman] was at the heart of the [Slayer's] creative force musically and lyrically, he shed away from the public eye mostly and usually avoided interviews, leaving the talking to Kerry King of Tom Araya."
"I'm no cranky hanky panky, I'm a dead square honest Yankee And I'm mighty proud of that old flag that flies for Uncle Sam Though I don't believe in raving, ev'ry time I see it waving There's a chill runs up my back that makes me glad I'm what I am."
"The speed and aggression [in Slayer's music] came from Hanneman’s love for hardcore punk such as Minor Threat, TSOL, Dead Kennedys, Black Flag, the Germs and more. This influence had an impact on [the band's] primitive sound which was the blueprint for all thrash metal bands to follow. Hanneman played and wrote music on every single Slayer album and is responsible for so many classic hits."
"When you tuned a guitar a new way you were a beginner all over again and you could discover all sorts of new things...It allowed us to throw out a whole broad body of knowledge about how to play the guitar."
"Let tyrants shake their iron rod, And Slav'ry clank her galling chains, We fear them not, we trust in God, New England's God forever reigns."
"There's a reason why Steve Vai was cast as the Devil's champion in the guitar standoff scene of "The Crossroads" movie, and a ridiculously long list of mind-blowing guitar effects he could produce certainly added to his reputation of an established guitar wizard. His pick squeals are top-notch, especially when he lays on a note so hard that it makes your brain melt, or when he combines it with a whammy effect, making his guitar sound like a racehorse dying in horrible agony."
"The founder and leader of Bay Area thrash stalwarts Exodus, Holt isn't always listed among the metal greats. Perhaps because Exodus never enjoyed the consistent mainstream success like other bands of its ilk -- notably its buddies from Metallica. Still, Holt is one of the most severe metal guitarists around (especially when it comes to his solo work)."
"The Big V has been making weird guitar noises since his infancy—when Frank Zappa’s wolf pack adopted and raised him."
"In the ’80s, Peter Buck’s clean, chime-y arpeggios defined the sound of alt-rock to come."
"At its crux, R.E.M. was a cavernous blend of sweeping desire, with its Rickenbacker-toting guitarist, Peter Buck, at its epicenter. While Buck is a capable songwriter and master crafter of memorable melodies, his approach to the guitar has always been simple. Through the idiosyncratic use of open strings and delicate chording to create chiming effects, Buck made a name for himself."
"My parents were academics and not thrilled about me joining a thrash metal band. They were older than most of my friends’ parents so didn’t even have that rock’n’roll background. Their wishes for me were to get a PhD, just like them. There were a few points that convinced them I hadn’t made a terrible choice, though. The first was when Testament supported Judas Priest at the Oakland Coliseum [in 1990], which showed that this was more than just a neighbourhood band. They were also happy when I started writing columns for guitar magazines, because they always respected writing."
"The 80s were a lot of fun. It was a time where everybody had disposable income so everybody was always going out. There were half a dozen places to play in my home town. You could have quite the life playing four nights a week, even as a cover band, but after a while we wanted to write our own songs. You have to start asking yourself, ‘What is it I wanna do? What do we wanna sound like?’ It was a chance meeting with [ex-Morbid Angel frontman] David Vincent while we were playing Charlotte, North Carolina, where he introduced me to this whole universe of underground death metal that I was completely unaware of. That was the poison apple that I bit and it soon infected my entire band. [...] The vibe in the late 90s was that death metal was dead. We didn’t care though, because we were going to do whatever we wanted to do, the world be damned. We were from Greenville, South Carolina, which is a nowhere town. Already we had wrestled with the idea that probably no one was going to give a fuck, so let’s just do what we like and own it. We didn’t care about the ebb and flow of whatever is currently popular. [...] That mindset has helped us over the years, remembering who we are and why we’re doing what we’re doing. It’s humbling in a way that we are just some guys from South Carolina who are willing to work hard. We were happy that the timing of the universe then worked in our favour. You can’t complain - you just have to thank the metal gods."
"I didn’t get really exposed to metal until I was a teenager, but world history I loved from a very early age. I was in fourth grade and had to do a book report on Alexander The Great, and that just fired my brain up. My dad was always watching the epic flicks of the day like Ben Hur, The Ten Commandments, Land Of The Pharaohs, so it was a worm in my brain from an early age."
"It became obvious to us early on that if you put in too many exotic elements, at some point it’s no longer really a metal record. Different Nile albums have had varying levels of extraneous elements to them. [...] It’s always a variable based on what each songs need. It’s the randomness of the universe."
"People radically underestimate what it takes to try and take all that sonic abuse and turn it into something that you can listen to. It eats the mix (fast double kicks), and then you add some down-tuned guitars and some low screaming, growling vocals. How on earth do you hear anything?"
"Basically, if you’re a guitar player, there’s riffs that are going to come out. It just happens. It’s part of it. So we’re not lacking in inspiration. George (Kollias) is always playing drums, so he’s always got drum ideas. You know, (guitarists) Brian (Kingsland) and Zach (Jeter) are always playing. So there are always new guitar ideas. It’s not necessarily an endless well, and not every riff that we come up with manages to make its way into a song. That is where it comes from; we love to play music, so we’re always riffing. But, as soon as you try to dictate to the muse, it goes away. You can’t force yourself to be creative. You can be disciplined and work on your craft every day. That’s a little bit different. Not always is gold just gonna fall out of the sky, like when you hear a Nile record. You know that’s not just because we sat down in 10 minutes and said, “Okay, we’re done writing the record”. No, those songs took years to put together. A lot of blood, sweat, and tears went into taking the inspiration that we had and crafting it into something."
"I think we’re aliens. I think we’re not necessarily native to this planet. I think we came here from somewhere else, destroyed ourselves a couple of times, and what’s left after all that period of chaos, that’s what we have left, and that’s why no one knows where the fuck we came from. The early part of human history and civilisation is riddled with unknowns. Where did we come from? Where did these ideas come from? How do the Egyptians have such an advanced civilisation? Well, I think it came from before and just no one remembers. (The) last Ice Age, when the sea levels rose 400 meters. There’s a whole lot of stuff sitting out there, covered by water that we have no idea where the fuck it is. What was there? Just imagine if you took our sea level right now and raised it by 400 meters, how much of our current civilisation would then be underwater? So what happened at the end of the last stage? How do we know what was before the end of the last ice age? We only have a few things you know left. So you know, and how much shit survives 10,000 years of natural decay? Not much. Why do we still even know about the Egyptians? Well, they managed to build some shit that lasted 1000s of years, right? Otherwise, would we know anything about them? No, we wouldn’t; or it just be speculation, hearsay, and rumour."
"Sometimes the riffs, the ideas that are simpler, make a more direct connection and you can allow it to have that weight. Heaviness, doom, it’s a very elusive quality. If you get too tricky with it you lose that feeling of doom very quickly. It’s fleeting. It will run away, like a deer!"
"We were just kind of writing the record, and we were going over the songs. Me and Glen, we were, like, 'We wanna redo the songs.' It's like we had completed them — about nine or twelve, whatever how many songs. They were all right, but we weren't really psyched about them. So we decided to rewrite them. And Jack didn't really like it. And he kind of left one day and just never came back. So that was that. He's not on [the new album]. I haven't talked to the guy in almost a year."
"Stuff [in the world] is just amazing. Whether somebody created it, I just don't know, maybe somebody did. Maybe it just worked out that way. Even if there is a God he don't give a shit. People think he's keeping track of everyone's individual lives but that's ridiculous. People have ideas implanted into their f---ing brains so early that, of course, they say, 'Oh, it's a lake of fire, it's eternal pain, it's being up to your neck in piss.' I personally think that when you're dead you're just moss in the ground. It's a sad reality but you're just a corpse and you're going to turn to dust."
"The whole point of Satanic music is to blaspheme against the Church. [...] I don't believe in or worship a devil. Life is short enough without having to waste it doing this whole organized praying, hoping, wishing-type thing on some superior being."
"If anything, moving your limbs as a drummer keeps them lubricated. Look at Buddy Rich: He was whaling the hell out of his drums until he was an old man. Although it wasn’t metal music, he was doing blasts on the snare–he was a blastmaster!"
"I use drum triggers on the kicks, but not on the other drums–otherwise you just sound unnatural, like a machine. [...] For the blast beats, timing is all important. Practice slowly and build up to full speed so you can insert fills and rolls. Keep your lower extremities loose, too. Kick back, breathe properly, and let the sticks do the work."
"I was always a metal head. [...] My influences back then were Clive Burr with Iron Maiden and Tommy Aldridge, who did amazing things with Ozzy Osbourne. And then when music started getting a little more extreme, I enjoyed Dan Beehler of Exciter, Gene Hoglan of Dark Angel, and, of course, Dave Lombardo of Slayer."
"I was coming to the end of my drinking time and was realizing I wasn’t the easiest person to be around at times. [...] I could be a fully functioning yet contrary alcoholic at 23 or 24. So songs like "I Apologize" are clearly me feeling like a bad young man, like I should apologise globally for something I probably did but was not fully aware of because I was drunk a lot."
"I have one idea about this whole interpretation problem as it relates to orchestral music — too many of our conductors start with old music. What they should do is interpret the music of our time and then go backwards. They would be much better off because if you interpret a contemporary work, where the composer is still alive and have contact with the compositional mind, you will also play older music as looked at from the perspective of the composer, instead of an interpretive kind of idea. I hate the performer that says, “Did you ever hear my Beethoven?” I don’t want to hear his Beethoven! I want to hear Beethoven."
"I don’t understand any music! I feel it. I want them to feel something! I don’t want them to understand it. If I wanted them to understand exactly what I meant, I can write an essay! I’ve written a lot of speeches and essays and articles and everything else, but I don’t want that! I don’t want a particular thing; I want them to let themselves go and feel something they’ve never felt before. That’s all. That’s what a concert is — not a pleasurable experience; it is an experience of life-changing dimensions!"
"To me, the wonderful thing about music is a love affair between the performer and the composer, and between the composer and his audience. This love affair is a tripartite thing."