"Most bands aren't seeing any money from record royalties," says Alexisonfire's George Pettit. "You get a check twice a year and you split it five ways. It's not a big amount of money. It's not retirement type of money. It's a little chunk of change. We've got two platinum records and we don't see a great deal of money from our record sales. Where we float the boat is doing this: touring, selling tickets."
"We keep it up on YouTube because it's funny how many people go to it because it's two girls wrestling," says The Hilotrons' Michael Dubue with a laugh. "They wrestle for money on the Internet. So they cut one of their fights to one of our songs."
"I got a little excited that he was on stage and I wasn't," recalls Liam Titcomb of his first on-stage performance as a toddler with his father. "I hopped up there with my ukulele and postured away and played while he was playing. I acted as if I was playing along. It started then and that was the beginning of the end."
"There are a lot of ideas and stuff that comes to me that I let go. I don't keep a record; I don't record anything, I don't write it down. Anything that stays with me is meant to stay with me and anything that disappears I figure is not meant to be there," says Australian musician Xavier Rudd. "Some people would say, 'But you might lose something brilliant.' At times I think whatever I lost is pretty cool, but I think it's better lost."
"I'm always surprised that I get to do this – that I get to go on stage, make records or go on tour," says Luke Doucet, but he notes that his career is not without flaws. "I mean, I'm cranky about it a lot too, to be honest, when I'm driving myself 16 hours between gigs. I don't necessarily like being a truck driver, but I'm lucky. I'm aware of the fact that I get to do something pretty cool. Any opportunity to work harder or do more, I see as a real opportunity that I don't want to miss."
"I lost interest in certain keyboards. To be a keyboardist in different bands can be boring and uneventful. I think I finally got in a band where we decided anything goes and let's try anything and everything; the keytar wound up being one of them. It worked for us. The first time we tried it, nobody threw anything at me, so that was good. As a matter of fact, it got a few more cheers. It was strange. It was almost like people wanted to see a keytar."
"It's been a stroke of good luck, that 20-dollar video. I was just messing around my apartment with a camera and my laptop and I had some Plasticine. I've had a lot of bad experiences in the past making videos, spending a lot of money, and making videos that didn't really make any sort of artistic statement or have much merit on their own other than accompanying a single. I wanted to make something that was concept-based and from the heart."
"We got a call from this gentleman known as Unsteady Freddie. He's a guy in his 40s that is, 'Woah' – an 'out there' kind of dude – and he's a DJ in New York who loves surf music. He absolutely loves it; it's his life and breath. He found us on the Internet. We went on at 1:30 in the morning, which is basically the kiss of death in Ottawa. Since we were in New York City, there was a whole whack of drunk people dancing their asses off all night long. It was so much fun," says Reverb Syndicate's Jeff Welch.
As The Poets Affirm ready the release of a new album. “I think we realized we have a very fairy tale-ish essence to our music,” Gary Udle says. “I find we’ve always had a tie to nature. We’ve focused on trees a lot. You’ll find a lot of tree imagery and there’s a little bit of sea imagery as well in our past songs. Animals just felt like the next thing to include.”
“They didn’t hit my heart when I was singing them toward the end, and so I just wanted to be really in touch with myself,” Amanda Rheaume explains. “It was a conscious decision to be a bit more organic than Even When and choose richer tones – not the same electric guitar tone on every single song.”