A Quote by Joey Jordison

The drum records that I like are ones on which the drumming didn't repeat itself. The players didn't stick to a format or formula. — © Joey Jordison
The drum records that I like are ones on which the drumming didn't repeat itself. The players didn't stick to a format or formula.
Gaps can be very emotional. I mean, that's in my drumming. When I drum, you know, I don't need to drum all over the track. I play with the singer and I can back off.
I guess I did make my name out of my drumming, and I have the big drum sets, and I'm doing all these crazy, odd-time signatures, so, yeah, I guess drumming was very important to what made me popular.
That human existence should repeat itself, well and good, but that it should repeat itself like a hackneyed tune, or a record a drunkard keeps playing as he feeds coins into the jukebox...
The State Department has promised they will never have another temporary mission facility like the one in Benghazi that is so lightly protected. But at the same time, history tends to repeat itself here, and so it might not repeat itself in exactly the same way as Benghazi.
What you don't want is to repeat a formula over and over or impose a formula to a movie that...when you impose yourself and you impose a formula and you're not open to explore and to find what is right for the movie, I think you're doing a disservice to the story and what you're trying to express.
We love Formula One and think Formula One's great. But we think Formula E is different. We would be making a big mistake if we tried to compete with Formula One and be similar to Formula One, we have to be radically different to Formula One to have a chance of survival. I don't mean survival by beating Formula One but co-existing complimentary to Formula One.
I feel like records are moments in time, a modern moment that feels right then and it found its way to us then, that minute. We can all try and repeat records we have made that had success, but it's not possible.
So one must be resigned to being a clock that measures the passage of time, now out of order, now repaired, and whose mechanism generates despair and love as soon as its maker sets it going? Are we to grow used to the idea that every man relives ancient torments, which are all the more profound because they grow comic with repetition? That human existence should repeat itself, well and good, but that it should repeat itself like a hackneyed tune, or a record a drunkard keeps playing as he feeds coins into the jukebox.
The advice I like to give to drummers is that there's no right or wrong way of playing the drums. I think the drumming community can be very antiquated and very stuck in the past of, like, this Neil Peart style, technical Guitar Center drum video kind of approach. That you need to have played for 15 years before you ever do anything worthwhile.
I consider the electric guitar to be like a drum with strings. It became the drum of the Baby Boom generation. And the drum has always been the center of the tribe, a new electronic tribe.
I'm not interested in making folkloric records, but I like to push the traditional format around so that familiar patterns get knocked on the head.
History does not repeat itself. The historians repeat one another.
The first thing people look at with Four Seasons records is the vocals. But for me, the drum fills and rhythms are as much a part of it as anything. They're the base on which the harmonies were built.
I can say is usually people are slightly confused. They think that silent movies are old. But, the fact is, they are old because they have been made in the '20s. That's the thing that makes them old. Not the format. The format is just a format. It's not an old format.
The danger is, you have a formula and you just repeat it.
I thought of Gene Krupa's drumming, his staccato drumming. I went and put 'Misirlou' to that rhythm.
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