Quotes of All Topics . Occasions . Authors
In certain ways I still feel like I'm finding my way. I feel pretty comfortable playing acoustic guitar and singing, but then I feel pretty good sitting on a reggae groove as well.
If we can listen to English music without understanding nothing, and dance on it, and feel the groove, feel the feelings, I'm sure everybody can do exactly the same for each language.
White people get nervous and speed things up. You don't have to be in a hurry because you ain't got nothing to gain and you ain't got nothin' to lose. And that's where the groove lies.
I make music that I know that people will enjoy, and balance the ideas and philosophy that we put in music with music that when we play it live, people can move to it and groove to it.
I'd bite off the Beatles, or anybody else. It's all one world, one planet and one groove. You're supposed to learn from each other, blend from each other, and it moves around like that.
The nature of the task needs to be renewed so people just don't feel that all the hard work is in the same groove all the time, under the same circumstances and in the same environment.
My playing is always just a little on top of the beat. I can't lay down the kind of groove that Brad Wilk can. I'd really have to lay back to do that; it just doesn't feel natural to me.
The blues. It runs through all American music. Somebody bending the note. The other is the two-beat groove. It's in New Orleans music, it's in jazz, it's in country music, it's in gospel.
Some people say that if you do anything other than a straight-ahead groove, that it's not jazz. But that kind of labeling is wrong. Music is what it is; if it sounds good, it sounds good.
It's so easy to fall into a comfortable groove in life where you do the things that you like, and because of that, often times, we don't grow or change because we're not pushing ourselves.
I had a band called Infectious Grooves back in the Nineties. That music was really a mixture of styles, and we had some stuff that was punk rock, ska, but then we had a lot of funk in there.
Grooves are important to John Talabot - they're pivotal. That's the case with most dance-music producers, but there's something especially sleek about the Spanish producer's debut album, 'fIN.'
'Moving Pictures' still makes me get into a groove; I love the way it feels. But I'm not nostalgic for old times. I'd love to have that hair again and be 40 pounds lighter, but it's a tradeoff.
That's the best way to feed the human mind. That's how Bob Marley did it. He never put it in your face. After you got the groove, you were just singing the hooks, because you thought it was cool.
White rhythm is waltzes, marches, and the polka. In Africa, rhythm is used for a celebratory groove, but white rhythm doesn't have such an enormous vocabulary of spirits. It's basically militant.
Some machine-y music is great, but you can apply any groove to any song now - there's literally a massive drop-down menu on most programs. And that's what takes the human being out of the process.
Banging techno grooves from the one and only Ben Sims. Around the time of this was written he had that tribal/funky techno sound that rocked the dancefloor. He was a favorite then and still is now.
I think we have lost our groove as a country. One of the reasons was the attack on 9/11. We got knocked off our game. From a country that always exported hope we went into the business of exporting fear.
I knew I was destined to be a rock star. I just knew it, like I've always had the power of foresight. I feel right now exactly the way I felt after I finished mixing my first solo album 'New York Groove'.
The Faces do not, as some have recently alleged, play badly. They are more than competent, especially at creating a mid-Sixties Rolling Stones-styled groove, as their excellent version of 'Memphis' proves.
Pretend you're a southern sheriff. Or Mae West. Or Donald Duck. Buy a western hat and walk around the house like a cowboy. The point of all this, of course, is to draw yourself out of your accustomed groove.
The Meters are, I think, the most influential group in our time to come out of New Orleans, to have changed and introduced us all to a way of playing, and to a groove and a level of feel in playing funk-jazz.
So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.
Once I got my groove in WCW in '97, I'm pretty proud of the things I did there. By the time I got to WWE for DX, I may not have been as quick, but I was so far more well-rounded and a much more of a ring general.
There's a certain groove you pick that makes the music flow, and when you have it it's in your pocket. It's the feeling behind the rhythm... to me, the hardest thing to strive for is that feeling, behind the groove.
There's something about live players that you cannot get with machines: With live musicians, you can strike a groove, you can feed off each other... And, even though somebody might make a slight mistake, it's all real!
With 'Innerspeaker' I was trying to do these hypnotic '60s grooves, but it was so hypnotic and repetitive that they sounded like they were sampled. It was making electronic sampled music but using real instruments to do it.
I tend to think about so many different things on a recording. I'll be trying to tune into what the drummer's doing, trying to keep everyone playing the groove and other things like making sure the piano's in a nice pocket.
Al and Tommy and I sharing the biggest laugh because it was predicted by everything we did in the first three or four records in my career. It was predicted in the grooves that we would be here sometime later on down the road.
This has been a great experience for me. The first couple of days you don't always feel too well. You adjust to the fluid shifting, how to fly through space without hitting things or anybody else. But then you get in a groove.
The Jewish background is not that far from the black groove. Blacks are downtrodden, Jews are downtrodden, therefore they have something in common in that affliction. Being downtrodden often makes one more empathetic and sympathetic.
I think the best time to approach a woman is actually after her workout. When you're working out, you're playing your jam, you're in the groove, and you don't want to be interrupted. So guys, wait until she's done getting her sweat on.
Now I'm fortunate to have a good band in CA, and play many solo gigs as well. My point is that I stopped playing in bands and played solo for four years, to get back into the groove and pulse of writing and singing and who I am on stage.
With the first 'Toy Story,' we didn't know what the hell we were doing. We'd never made a movie before, so we went down a lot of blind alleys along the way. We went through seven different writers before we finally settled into our groove.
Any time I'm trying to find that groove on a big tempo song, I go back and listen to some Aerosmith records. 'Love in an Elevator,' 'Rag Doll,' all that stuff was really great music. It's something that I still dig and go back and listen to.
A lot of times, you land in a city, and you're like, 'This is not my people.' I'm gonna do the show, but you don't feel like this is for you. And then, some places, you just go and just fall into a groove, and you're like, 'This feels right.'
I can appreciate people for being able to go that fast with their left hand, man. But I just can't groove to that beat. I'm sorry. It's just like somebody sweeping the floor or something - tik tik tik tik tik. It just doesn't really jam to me.
There are writers' rooms that will write episodes all together, who will break into little groups and write certain scenes. Everyone's process can be a little bit malleable. Everyone tries to get into a groove or find what works for their room.
People who care about records are always giving me a hard time. I mean, I would destroy records in performances, and break them, and whatever I could do to them to create a sound that was something else than just the sound that was in the groove.
Dad was pretty solid. He had great grooves and there was occasional moments of sheer brilliance with fills and things, but in general, the sheer brilliance is the simplicity, how much groove, how much feel he had, all the subtleties that we miss.
People hear traditional jazz and think it's stale, where there are so many ways it can be opened up. With New Orleans and old-time grooves, there's no limit in what can be done with that. I want to break the stereotype of what traditional jazz is.
What happens is people go, 'I want to play the guitar,' and the first thing they do is hit Google: 'How can I play this?' and the next thing you know, you've learned all these tricks, but you've never learned how to play rhythm guitar with a groove.
The urge to act became the overriding force in my life. It thrilled me. There's a moment with acting when you're in the groove, and you and what you're trying to do are seamlessly one. That happens sometimes, and I'm really happy it can happen to me.
I've had mental errors before while not shooting the ball well and while shooting the ball well, and vice versa. So I can't compound one on top of the other. It's just a matter of getting out of the groove of shooting bad and just staying more locked in.
There's always a transition if you go to a new territory or a new company or a new country or wherever because there's different styles and different crowds that you perform in front of. Of course, it always takes a little bit of time to find your groove.
I am the 'Cosmic Dancer' who dances his way out of the womb and into the tomb on 'Electric Warrior.' I'm not frightened to get up there and groove about in front of six million people on TV because it doesn't look cool. That's the way I would do it at home.
I'm 64 years old and, yeah, I went through a transition in my life last year, with the death of my son, that woke me up to a lot of things. You know, I'm perfectly happy in my own little groove. Marching along, building my company, and you know, a happy person.
You get this really cool groove when you're playing just piano, bass, and drums where everyone's sort of feeling each other's space, which is the only way to put it, but it really is true, and everyone's sort of sitting in their own pocket. It's kind of jazz-like.
I've always loved the mixture of crushing live drums with a programmed groove, that really cool blend, like in the verse there's a really funky drum beat that is programmed then it comes in to the chorus; you've got that enormous human feel where the band kicks in.
A personal offense is like a scratch on a phonograph record. I couldn't move my thoughts beyond my pain. It kept repeating, as if I were stuck within its grooves. There was only one way to play beyond it. I had to forgive them, so my heart could take its form again.