Rock Music Quotes

Quotes tagged as "rock-music" Showing 1-30 of 48
Bob Dylan
“Play it fuckin' loud!”
Bob Dylan

“Some guy said to me: Don't you think you're too old to sing rock n' roll?

I said: You'd better check with Mick Jagger.”

Vera Nazarian
“If Music is a Place -- then Jazz is the City, Folk is the Wilderness, Rock is the Road, Classical is a Temple.”
Vera Nazarian

“Give the People what they want - and they'll get what they deserve.”
The Kinks

Joan Jett
“Girls have got balls. They're just a little higher up, that's all.”
Joan Jett

Alice Cooper
“The hippies wanted peace and love. We wanted Ferraris, blondes and switchblades.”
Alice Cooper

Alice Cooper
“Drinking beer is easy. Trashing your hotel room is easy. But being a Christian, that's a tough call. That's real rebellion.”
Alice Cooper

Steven Tyler
“We believed anything worth doing was worth over-doing”
Steven Tyler

“The lions of hard rock, guys like Robert Plant, Roger Daltrey, Brian Johnson, Rob Halford, these monsters feel completely timeless, iconic, eternal. They simply shall not, will not, do not die. It's almost impossible to imagine a musical world without Robert Plant. No metal fan of any stripe can imagine a day when, say, Iron Maiden shuts it all down because Bruce Dickinson turned 85 and suddenly can't remember the lyrics to "Hallowed Be Thy Name." Metal revels in the raw energy and unchecked phantasmagorical ridiculousness of youth. It is all fire and testosterone and rebellious fantasy. It doesn't go well with reality.

So it is for hard rock and a guy like Dio, an elfin titan with an undying love for lasers and sorcery, dragons and kings. The man wrote some terribly corny metal songs, but he sang every one with a ferocity and love and total honesty. He also wrote some of the finest hard rock melodies of all time, sang them with a precision and love unmatched by any hard rock singer since. It's a rare thing to give metal some heartfelt props. It is time. Raise your devil horns and salute.”
Mark Morford

Steven Tyler
“You should have felt the buzz the moment all five of us got together in the same room for the first time again. We all started laughin'—it was like the five years had never passed. We knew we'd made the right move.”
Steven Tyler

Mark  Rice
“I was ten when I heard the music that ended the first phase of my life and cast me hurtling into a new horizon. Drenched to the skin, I stood on Dunoon’s pier peering seawards through diagonal rain, looking for the ferry that would take me home. There, on the everwet west coast of Scotland, I heard it: like sonic scalpels, the sounds of electric guitars sliced through the dreich weather. My body hairs pricked up, each one a willing receiver for the Thunder-God grooves. To my young ears, the sound of these amplified guitars was angelic (although, with hindsight, I don’t suppose angels play Gibson guitars at ear-bleeding volume). A voice that suggested vocal chords of polished silver soared alongside razor-sharp overdriven riffs. I knew that I was hearing the future.”
Mark Rice, Metallic Dreams

Mark  Rice
“Things began to go wrong when I was seventeen. My band’s twenty-year-old lead guitarist earned seven years in jail for a drug-fuelled spree of violence. The other band members were quick to let go of their musical dreams, but I never did. They did the ‘mature’ thing: after writing off the band as a teenage fantasy, they got real jobs and made some money. They called it growing up. I called it giving up.”
Mark Rice, Metallic Dreams

“Ronnie James Dio died the other day, quietly succumbed to a relatively sudden onset of stomach cancer and up and left the planet in a blaze of stage fire, dragonsmoke and general metal awesomeness. Maybe you heard.”
Mark Morford

“RJD was pretty much heavy metal personified, a tiny 5-foot-4-inch sorcerer with a mangy mane, demonic eyes and sly grin, all coupled to a simply huge, operatic voice, a diminutive powerhouse who prowled the stage like a feline elf and who was, it turns out, also finely intelligent and well spoken, an actual gentleman in a genre known all too well for its bombastic, monosyllabic doltbuckets. A rare thing indeed.”
Mark Morford

E.D. Hirsch Jr.
“I'm sure that if Plato hadn't been against music with a strong sexual beat, Bloom would have kept quiet about rock-and-roll.”
E.D. Hirsch

“Of the myriad impressive notables related to Dio's passing, perhaps foremost is the fact the man was 67 years old and was still making quality hard rock records, still touring with a new (old) version of Black Sabbath, still singing his absolute heart out about dragons and rainbows, making the infamous devil horns hand gesture he swiped from his Italian grandmother and which has since became the universal, undeniable, completely badass symbol for true metal across all galaxies everywhere, and for which Dio deserves to be ensconced in the heavens forevermore.”
Mark Morford

“Metal is made up of many silly cliches, and Dio's songs rarely shied away from a good cheeseball lyric about medieval knights and crystal balls. But the amazing thing is, Dio the man never succumbed to the typical ravages of drugs, booze or hideous all-body tattoos. He never gained 75 pounds later in life or lost most of his voice through merciless shredding and ended it all playing county fairs for 19 drunk dudes in a barn before collapsing in a heap in a motel room in Jersey. There's a lesson in there somewhere. Or everywhere.”
Mark Morford

“We were orphans before we were ever the sons of these songs.”
The Gaslight Anthem , Orphans

Rob Sheffield
“The bassist -- always the bassist.”
Rob Sheffield

Andre the BFG
“Led Zeppelin was the rock band's rock band, but it was Plant who made it special. He had the knack of taking a seemingly inconsequential string of words, adding a searing shriek, and knocking the listener back on his heels. This was no less impressive on stage than in the restaurant.”
Andre the BFG, Andre's Adventures in MySpace

Stewart Stafford
“The bravest thing David Bowie ever did was to go on stage after Queen at Live Aid.”
Stewart Stafford


The lights go out
Darkness takes over my mind
I can see only the unreal…
The sound of the piano
Whispers in my ears
Provoking the sea of tears
Breaking down the strings
Attaching me to my fears

The violin wakens the dreams
Creating the will
Detaching from the ground
Lifting me up
To be one with the dark clouds
To feel the storm whelming up inside

The strings of the guitar cinches
The cords binding me to you
Luring me to the ends of the galaxies
Gluing me to an inaccessible time
Where time stands still
And pain continuously spills

But your voice slithers in between
Rising with each beat
Stretching out its wings
Sheltering me from the wind
Fighting my wars
Risking it all


The pulsation of the drums
Join with the beats of my heart
Stating their case in sync
Awakening me to your presence
And in a flash of lightning
Heaven and earth become one

The piano severing the strings to my fears
The violin forging a storm
The guitar freezing time
Your voice fighting my wars
The drums breathing life into me
That’s rock for me
The rock state of mind”
Evy Michaels

Michael P. Naughton
“Rock is not dead, but it is The Walking Dead, with a few groups still trying to survive in a zombie apocalypse of musicians or fringe and splintered groups.”
Michael P. Naughton

Chuck Klosterman
“Normal consumers declare rock to be dead whenever they personally stop listening to it (or at least to new iterations of it), which typically happens about two years after they graduate from college.”
Chuck Klosterman, But What If We're Wrong? Thinking About the Present As If It Were the Past

Milan Kundera
“The ethic of ecstasy is the opposite of the trial's ethic; under its protection everybody does whatever he wants: now anyone can suck his thumb as he likes, from infancy to graduation, and it is a freedom no one will be willing to give up; look around you on the Metro; seated or standing, every single person has a finger in some orifice of his face-in the ear, in the mouth, in the nose; no one feels he's being observed, and everyone dreams of writing a book to tell about his unique and inimitable self, which is picking its nose; no one listens to anyone else, everyone writes, and each of them writes the way rock is danced to: alone, for himself, focused on himself yet making the same motions as all the others. In this situation of uniform egocentricity, the sense of guilt does not play the role it once did; the tribunals still operate, but they are fascinated exclusively by the past; they see only the core of the century; they see only the generations that are old or dead.”
Milan Kundera, Testaments Betrayed: An Essay in Nine Parts

Roger Kimball
“If the politicization of art and education represents one large part of the counterculture's legacy, the coarsening of feeling and sensibility is another. No phenomenon has done more to advance this coarsening than rock music. It is impossible to exaggerate the importance of rock music to the agenda of the cultural revolution. It is also impossible to overstate its soul-deadening destructiveness. The most reviled part of Allan Bloom's book The Closing of the American Mind was his chapter criticizing the effects of rock. But Bloom was right in insisting that rock music is a potent weapon in the arsenal of emotional anarchy. The triumph of rock was not only an aesthetic disaster of giant proportions: it was also a moral disaster whose effects are nearly impossible to calculate precisely because they are so pervasive.”
Roger Kimball, The Long March: How the Cultural Revolution of the 1960s Changed America

喬靖夫, 地獄鎮魂歌

Philip Alajajian
“Despite the promises of utopian hedonism, many youth and middle-aged adults quickly enticed by these did not escape from their addictions easily, if at all. And, to the shock of their fans, the lives of Jimi Hendrix, Janis Joplin, Jim Morrison and numerous other acid trippin' rock musicians also ended quickly like the closing blues beats from one of their most popular songs. Even Max Yasgur himself died just 19 months after the Woodstock Festival of a heart attack at the age of 53.”
Philip Alajajian, The 1960's Social Movements - Pathways to the Final Apostasy

Mark Duffett
“Epic, adult and widescreen in its ambitions, the beefed-up Comeback version of 'Let Yourself Go' sounded almost violent in its execution, with Elvis's raw and desperate vocals every match for the gargantuan, aggressive horns and percussion that dominated the mix. A big, sweaty, dusty monster of a take towered over the Culver City version, and perfectly captured the tumultuous social and political strife of its era in dissonant musical form. This new version of 'Let Yourself Go' was unfailingly magnificent in its vision.”
Mark Duffett, Counting Down Elvis: His 100 Finest Songs

“Just try to find an uncompelling photo of Fleetwood Mac taken at any point between 1975 and 1987. I've spent hours scouring Google Images in search of a single Fleetwood Mac band photo to which I am not sexually attracted, and failed every time.”
Steven Hyden, Twilight of the Gods: A Journey to the End of Classic Rock

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