A Quote by Glen Campbell

I learned it was crucial to play right on the edge of the beat... It makes you drive the song more. You're ahead of the beat, but you're not. — © Glen Campbell
I learned it was crucial to play right on the edge of the beat... It makes you drive the song more. You're ahead of the beat, but you're not.
I don't like pre-written raps; I think it makes the song better if you listen to the beat first. In a sense, you have to make a marriage with the beat. I ride the beat, hear the flow of the drums, get the melody of my flow, and then from that point, it's a process of what I want to say.
The bartenders are the regular band of Jack, and the heavenly drummer who looks up to the sky with blue eyes, with a beard, is wailing beer-caps of bottles and jamming on the cash register and everything is going to the beat - It's the beat generation, its béat, it's the beat to keep, it's the beat of the heart, it's being beat and down in the world and like oldtime lowdown.
They [the police] learned something from them Harlem riots. They used to beat your head right in public, but now they only beat it after they get you down to the station house.
I wanted no part of losing. Why play if you can't beat the other guys more often than they beat you?
Yes, there are times where I might play one bad service game a set. If you look at Sampras, he might play one slightly suspect service game every three sets. So to beat someone like that you've obviously got to be right on top of your game. I've basically got to get rid of that in my game so it makes me very difficult to beat.
I usually write to the beat. Really, the beat can make the song itself.
My daughter, who is 7 years old - I have no idea where she learned this - she made a video where she's beat-boxing. We have no idea where the beat-boxing came from, but all of a sudden, there it was. Now we're launched into lyric sheets for every single song that is current. They're all over our house.
'In the nineteenth century, we beat the British more than once,' Afghans often told me. 'In the twentieth century, we beat the Russians. In the twenty-first, if we have to, we'll beat the Americans!'
I would say a great song [is where] you like everything in the song. The lyrics move you, the beat makes you want to dance and you feel invincible when you listen to that song. A good song I think you can listen to but you get tired of it really fast.
Differences' is the biggest song in my career. It beat 'Pony,' it beat 'So Anxious' and 'None of Ur Friends Business' as far as popularity and spins.
Bill Ward, when you hear his beats, he's not just playing a straight 4/4 beat; he's doing almost a hip-hop beat. There's a song called 'Sweet Leaf.' The drum beat that he's playing, he's trying to kind of swing and funkify it. Now, is he doing a great job of it? Maybe not. Maybe.
That straight man character is a short trip between comedy and drama in a project, so I can play the comedic beat on the same page as a dramatic beat. It gives me a lot of freedom as an actor to play scenes in multiple ways because I don't play the clown, nor do I play someone who is particularly maudlin.
You beat him verbally. You beat him mentally, and then finally, you beat him physically. That's the three ways to beat a man.
He comes in on the beat and plays on top of the beat. I think when Prince makes love, he hears drums instead of Ravel.
Weakness actually is a provocative to evil. You don't beat evil with weakness. You don't beat evil with concessions. You don't beat radical Islam by giving them more territory, giving them more money. You beat evil by strength.
The minute anyone makes you feel weird and non-included or not supported, you know, either beat it or tell them to beat it.
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