A Quote by John Darnielle

I couldn't name more than a couple of good drum'n'bass acts, and I have no idea what's big in the dance world right now. — © John Darnielle
I couldn't name more than a couple of good drum'n'bass acts, and I have no idea what's big in the dance world right now.
I always worry that I'm a dilettante: I know something about lots of things but don't have exhaustive knowledge of much. Take dance music: I like enough of it and its history to be able to say a word or two about this or that record, but I'm nobody's authority. I couldn't name more than a couple of good drum'n'bass acts, and I have no idea what's big in the dance world right now.
The Creator wants us to drum. He wants us to corrupt the world with drum, dance and chants. After all, we have already corrupted the world with power and greed....which hasn't gotten us anywhere - now's the time to corrupt the world with drum, dance and chants.
In the late '80s and early '90s, there was a slightly retro drum sound that was popular in hip-hop music called the 808 bass drum sound. It was the bass drum sound on the 808 drum machine, and it's very deep and very resonant, and was used as the backbone as a lot of classic hip-hop tracks.
My dad was a kind of semiprofessional Dixieland-type drummer, and I learned the drums from him. When I was about twelve, we bought our first Ludwig drum set from a pawnshop - a marching-band bass drum, great big tom-toms, and big, deep snare drums.
I like a bass drum. A big one.
I've been listening to a lot of dance, hip-hop, drum-and-bass, reggae, R&B - very rhythmical music.
I was a big Drum and Bass junkie when I grew up.
The idea of the past is as useless as the idea of the future. Both could be invoked by anybody about anything. There is never any more beauty than there is now. There is no more joy or wonder or sorrow than there is now, nor perfection, nor any more evil nor any more good than there is now.
My love for dance music started when I was a child. Some of my earliest memories are hearing Trance music in the charts and later being heavily influenced by the eclectic tastes of my big brother, he quickly turned me into an avid Drum 'n' Bass head even though I was too young to rave.
Bristol is known for having quite a good success rate of music - Massive Attack and Portishead, that drum and bass, dance music scene. I never listened to that stuff when I was a kid, but my parents did, and my parents knew some of those people.
When Mr. Ludwig invented the bass-drum pedal, that's what made the drum set possible.
Most music that comes out of Holland is basically the harder part of dance music - hip-hop, drum'n'bass.
There's a lot of good rappers in England at the moment. There's a lot of good dance acts. A lot of good, young guitar acts. I think a lot of groups came from that dole culture of the late 80's/early 90's - it's not as easy now. I think there's a dearth of working class bands.
I don't look at my instrument as having one specific role; I was raised to go as far as you can. But Raphael Saadiq hated my bass. He told me to throw it away. And playing in Snoop's band, there was a time when my bass was more annoying to everyone than helpful. They would get on my case: 'Can you make your bass sound like more of a bass?'
The Gong Show was the greatest scam of all time. It was simple: We wanted to do a talent show. There weren't any venues for acts back then. We were gonna have a show of new, fresh, good acts. But we couldn't find any; they were all lousy. So rather than throw away the idea, I said, "Let's reverse it. Let's do lousy acts." Now, is that a scam? I'm telling you.
I can preach until your deaf and dumb, I'm in that soul saving army beating on that big bass drum.
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