A Quote by Duff McKagan

If you don't have a good rhythm section, your band is toast; you're a bar band. Good rhythm section, you've got a chance to get out of the bar. — © Duff McKagan
If you don't have a good rhythm section, your band is toast; you're a bar band. Good rhythm section, you've got a chance to get out of the bar.
I have a West Coast rhythm section and a New York rhythm section. I've got them spread out all over the place.
When I started off in Wales, I sang and accompanied myself with guitar in the '50s. And then I got a band together, which is a rhythm section, really. I used to do a lot of blues, and rhythm and blues, and '50s rock 'n' roll and country, and all kinds of stuff.
An important part of being in a band is the rhythm section.
I can always tell if a band has a British rhythm section due to the gritty production.
I can't get very excited about a musician who can do Art Tatum because I've got the Art Tatum records. I want to hear him take that and do something that hasn't been done. And there's enough of that going around that keeps the music very exciting. There's so many great young players coming out. I think we're in some kind of renaissance, especially in the rhythm section. I mean the musicians on drums and bass and guitar are really trying to figure out different ways to bring a rhythm section together.
The thing that I always notice that dates a record is the rhythm section. With a good arranger the music can be timeless. But, rhythm can change, because heaven knows, we didn't know rock was going to come in, did we?
I was in one bar band from 1965 to '69, then I was in another one from 1970 to '79 - a 9-year bar band!
The rhythm, the sounds, the tonality, the chord sequences, the individual effect of each instrument and each section of the band - I'm talking about a whole continent in my music.
When I started out, even though you had your rhythm section, they were big horn sections, strings, live people laying on every part of the floor in the studio waiting for their chance to get on that one little track.
My ego only needs a good rhythm section
The relationship in Pantera and with Damageplan is the opposite of the traditional rhythm section. It's me and Dime, not the bass, locking in always. Dime's such a strong rhythm player that we just walk in, and we're good to go. We've been playing together forever, and when he goes somewhere, I instinctively know where he's going.
I think that the rhythm sections, drummers in particular, are the unsuing heroes of the music. It's the rhythm section that has changed the styles from one period to the other.
Rhythms, beats, etc., are fundamentally central to my creative drive: my first instrument was the drums, nearly every band I have been involved in or at the helm of, is driven by rhythm, my band is driven entirely by rhythm, machine rhythm, and the purpose of the rock instrumentation is literally to speak the beats, to emulate the rhythms with guitars and bass, with very little articulation, and without being 'progressive'.
A band is only as good as its euphonium section.
At Carnegie Hall the Preservation Hall Jazz Band showed how easily it could hop from era to era. It could work like a rhythm-and-blues horn section or a tightly arranged little big band if need be, but it could also switch back into the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time.
I would love young girls to look up and see my string section or my brass section or the steel band and be like, 'Wow! I never thought I could do that, that's wicked! I want to be up there doing that.'
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