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Tyler: I was called n----- lips at school. Remember, high school for me was the '60s, the '50s. I was a white boy with these big lips, so all the kids on the block made fun of me. My mom said, "All the better to kiss the girls with, so don't listen to 'em." Um, shut up.
I was always over-amping on something because I was so excited. I'd be out playing ball in left field looking for bugs and crushing ants and missing the high balls. No one ever had any faith in me. My mom did, school didn't. Never got math. Didn't get anything but choir and gym. I felt like music was my only outlet.
I grew up in a small tenement apartment on the sixth floor — the apartment was the size of a postage stamp. And my father had a grand piano and two chairs and a TV, and I grew up wanting to go outside, but I couldn't, so I sat under the piano and listened to him playing Brahms. And wanting to go see the girl downstairs, but I couldn't, 'cause I was six. So I took all those emotions and stuffed them and listened to classical music. So I always took what I was told I couldn't do and threw it into music. "You'll never make it," my father would say, "you've gotta have something to fall back on." But there never was a whole lot of support from school on, so it was always, "I'll show you." Even to this day. My favorite saying is, "You'll miss me when I'm quiet."
Perry: All the guys in the band lived in one house together. Every room in the house was a bedroom, except the kitchen. So every room also doubled as something else. Tom's room had the piano in it. We weren't unlike so many other kids coming into Boston for school with so much idealism and being away from home for the first time, and living with a bunch of roommates, and seeing who you could meet ... who liked your kind of music, who else was in town, what other bands were playing. That's really what it was about. The only thing was, we didn't go to school. We partied. We were, hopefully, the band you came to hear to party and listen to. It was around the clock, pretty much. You never knew who was going to walk through the door next.
Hamilton: As the songwriter, Steven was very demanding about the dynamics: when it was loud, when it was quiet, when it crescendos. And at first it felt to me like too much technical stuff to learn. I just wanted to turn up the bass and pound on it. I never really cared about vocals until I was in this band. I always thought vocals were there so the girls would listen.
Brad Whitford: We fought always about the volume — every day at rehearsal, every show we did. It's too loud it's too loud it's too loud. And it probably was. The amplifiers were better than the PAs and the monitors. And it made it very difficult for Steven to have to sing in that environment. And we would have a lot of fights about it. Furniture would get thrown around the room. Joe and I might say, "Oh, it's not that loud," when we knew it was pretty loud.
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Photo: Ron Pownall
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