A Quote by Joey Jordison

I love listening to old records. Stuff from the '70s, even disco and funk records and a lot of early rock albums - what's great about those recordings is that you can actually hear the true tones of the drums themselves.
You just want to go back to those 70s albums. Even a lot of the 90s indie records were still done on tape, and you hear the difference.
I started buying records in the 80s. I listened to everything new wave, disco, funk synth-pop, rock, but in my house we were listening to bossa nova, tango, and folk.
I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.
If you listen to 'Electric,' 'Entourage,' and 'Been With A Star,' all those records are records that I dug into the crates for to help me create that feeling of old funk. No one makes records like that anymore.
I love the sound of '70s glam records. I love that snare sound. The recordings I like, it's all based on if the snare sounds good. The drums have to sound great.
If you listen to a lot of old funk records, the drums are really small. But you don't perceive it like that because the groove is so heavy.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
I do love the Nat King Cole stuff, the classic Christmas records. There's something about putting those records on and hearing his voice at Christmastime that brings back a lot of great memories of growing up.
But I'd play on everything from pop records to a lot of the glam stuff to rock stuff to classical stuff. I used to get called to do all those things, it was great.
There are certain records from the 80s and early 90s that you love because the songs are great, but you don't go to them as an example of great production. Over the last 20 years, myself and a lot of other musicians my age have tried to discover things in 50s, 60s, and 70s recording techniques that were lost or discarded. We've all been trying to crack this code. It's been an important period in the last 15 years, reclaiming some of those lost approaches to making records.
There's a lot of people over time who have brought out all these funky records that everybody has started jumping on like a catch phrase... When Planet Rock came out, then you had all of the electro funk records.
Mainly horror movies and exploitation movies and a lot of stuff comes from those press books from those old movies. Lines out of old movies, comic books that we collect, all the old horror comics of the 50s, probably about the only comics that we collect are obscure horror comics, the real sick ones from the 50s. Some stuff comes from there but mainly just old records, old rockabilly records and that stuff, singles mainly, 45s.
I grew up playing in rock bands while I was listening to rap records. I like a lot of stuff.
Elvis deserves a lot of credit for bringing the blues to middle America, not the Vegas stuff. The early stuff, The Sun records, and the first few RCA records. He was wonderful, he had the power, the drive, and he was so dedicated to his music.
Those early steps are very important in understanding the evolution. But in themselves, maybe now you need the later records to understand the significance of the earlier records!
I want all that dirt and grime and life-sauce. A lot of my favorite old soul records have it, but you don't hear it on country records anymore.
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