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.
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.
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 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.
I actually listen to hip-hop to unwind, so that's really the music I use to clear my mind. I find listening to someone like Dr Dre helps me to take a break and find a groove again.
When I'm skiing, I listen to electronic music. It's repetitive and let's me get into a groove and crank out the miles.
I was in a band called Groove Solution. Because there was a groove crisis, and we solved it.
I think it's always an adjustment for me, but I do feel like, ultimately, I can kind of write anywhere. It just takes a second to get back in to the groove.
Just because a record has a groove don't make it in the groove.
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.
I did ballet, jazz, and all that, but I think hip-hop is really where I learned rhythm and groove, which has helped me in music.
Music is a big thing for me when I'm shooting. It gets me in a groove.
A lot of guys in New York will only play with an edge. They find their groove and that's their groove. to me, once I do that, there's no point in playing anymore because it should always be a mystery. Depending on who you are playing with, there are hundreds of ways of playing. I think that a master can play all those different kinds of time.
We are all human, and we are all able to listen to music that we cannot understand. I used to listen to English music like Notorious B.I.G., and I didn't know what he's talking about in all of his tracks, but I'm a fan. It's rhythm and a groove that makes me dance, so I'm convinced that my music can work in the U.S.
I'm a firm believer that embracing the imperfections of making music is so much of what makes something groove. Getting rid of these imperfections runs the risk of removing a lot of the magic that makes this music really special, and diminishes music's ability to connect with us as human beings. We are all imperfect, after all.
In order to have that incredible groove that makes you dream you have to think not of the groove, but of the dream.