A Quote by Imelda May

Up-tempo or slow tempo, I don't feel that one is better than the other. — © Imelda May
Up-tempo or slow tempo, I don't feel that one is better than the other.

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The Nike joint 'Classic' with Kanye, Nas, KRS-One, that was a remix - Rick Rubin did the original, and his was a double-time tempo; mine was a regular boom-bap tempo, and they liked it so much that we ended up doing the video to it.
I think I can help push the tempo just a little bit... I feel I can get the ball after a rebound. Push the fastbreak. Push the tempo. Get guys some easy shots.
When you sit down and think about what rock 'n' roll music really is, then you have to change that question. Played up-tempo, you call it rock 'n' roll; at a regular tempo, you call it rhythm and blues.
We must slow down to a human tempo and we’ll begin to have time to listen.
I always work with the tempo of the energy of the character, whether he's fast or slow, or heavy or light.
The tempo is the suitcase. If the suitcase is too small, everything is completely wrinkled. If the tempo is too fast, everything becomes so scrambled you can't understand it.
I have to think in terms of musical tempo. Let's say someone comes into a room and slowly sits down or someone rushes into the room and rushes to sit down. That's how to work out the tempo of the music you produce.
We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.
I must say, the standard of football we play in League Two is better than I thought. I think, if you compared it with the fourth division in other countries, such as Italy, Germany and Spain, League Two is much, much better - and that's very positive. The intensity and the tempo is as high as the Premier League.
Every one of the songs was based around picking an acoustic guitar. That was part of the concept from the beginning, that the tempos were going to go from slow to almost mid-tempo.
As a producer, when I'm trying to make something soft, I start with a slow tempo. Then after that, it would be straight to acoustic guitar and vocals, or I'm going to go strings and just piano.
Our modern economy privileges pure profit, momentary transactions and rapid fluidity. Part of craft’s anchoring role is that it helps to objectify experience and also to slow down labor. It is not about quick transactions or easy victories. That slow tempo of craftwork, of taking the time you need to do something well, is profoundly stabilizing to individuals.
The faster you work and the more you get done, the better you feel. Most successful people work at a higher tempo of activity than unsuccessful people. They don't necessarily do different things, but they get things done more efficiently in a given time than the average person.
I think we're really good about pushing each other in practice and we have high tempo and I feel like we have some of the best players in the world so just competing against one another and getting in there and pushing each other around and getting ready for that physical style of game coming up, we have to play hard and pretend it's a game.
I mean that's something we're very conscious of when writing. Tempos are very important. Like "Oh we can't play the song too fast because people aren't going to feel it." There's a pulse to a song. You can't play it too slow. We're always trying to find the perfect tempo.
Everybody recommended me to Sinatra and Don Costa, because everybody was enjoying my music. I got a big following going on. Nino (Tempo) told Don Costa "you gotta come see this guy." And that's how Don Costa heard about me, through Nino Tempo. Then, Don Costa brought me to the attention of Frank Sinatra and Reprise Records.
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