A Quote by Dennis Brown

You know, we had that groove; I didn't feel no way. — © Dennis Brown
You know, we had that groove; I didn't feel no way.
I feel with writing, so much of the time, I don't know how to tap in and be spontaneous and alive on a daily basis. So I don't write every day. I'm just not disciplined, and I can't be in the groove most of the time. I feel like I'm in the groove ten days a year or something. But with reading and research, I feel like I have this incredibly instinctive pleasure-driven process that ends up working out for me and inspiring me. It's almost like a maze, like I know eventually I'll hit the heart of my play if I read enough books.
It's funny, you know - time does travel pretty quickly, and I do have good friends, and the further away I go from them in location, it matters that I keep on the same line and the same groove that I had and preserve that groove with people who I see seldom.
There's a surge, there's a kind of energy field that says, 'I'm in my groove, I'm in my groove.' and nobody has to tell you, 'You go, girl,' because you know you're already gone.
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.
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'.
A good groove releases adrenaline in your body. You feel uplifted, you feel centered, you feel calm, you feel powerful. You feel that energy. That's what good drumming is all about.
The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.
I don't believe in taking much of a divot, especially with the longer irons. You want to barely comb the grass through impact. It's the only way to catch the ball on the second groove up from the bottom of the clubface. That's where you want to make contact: on the second groove.
I was in a band called Groove Solution. Because there was a groove crisis, and we solved it.
Just because a record has a groove don't make it 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.
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.
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.
It takes me probably about four hours to get into the groove [with making music]. And it's really important for me to not break the groove.
To me it's just the knock, man. It's the knock and the groove of the beat. When I start a song, it's the first thought. It's the first thought and the first cadence, because that's the most natural. You know what I'm saying? I feel like people can feel when something is natural.
When I was growing up and listening to bands like the Dave Clark Five, the groove was what initially got me going. I really like that funky, heavy groove.
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