A Quote by John Dieterich
When I joined the band I was coming largely from an improvising background, and the idea of a fluid rhythm that was really coherent attracted me.
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I joined Elton John's band in '75. He not only allowed me to play the electronic keyboard on his albums, he also let me do the orchestrations. Then I left the band and started producing records. I was not really a popular kind of hit music guy. I was attracted to more esoteric things.
It's largely a misconception that Tame Impala is a band. We play as a band on stage, but it's really not how it is at all on the album. The album is just me.
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.
A puppet that starts to improvise badly is almost funnier than the puppet that's improvising well. So the show gets better when the improvising is really good, but also the show can also sometimes get better when the improvising sort of goes a little wrong and that's sort of a blessing to improvising with puppets.
Rhythms, beats, etc., are fundamentally central to my creative drive: my first instrument was the drums, nearly every band I have been involved in or at the helm of, is driven by rhythm, my band is driven entirely by rhythm, machine rhythm, and the purpose of the rock instrumentation is literally to speak the beats, to emulate the rhythms with guitars and bass, with very little articulation, and without being 'progressive'.
My musical background in Tyler, Texas was quite outstanding. Uh, I grew up with, uh, with high school teachers who were in bands, they could play music. And we had a nine piece band there in Tyler, and I joined them when I was about, oh, 15 years old and traveled all over Texas in that band, playing for the elite oil people. Hah. And um, I was making about 50 bucks a night, and uh, it taught me, they taught me how to find my timing and to learn the songs that I wanted.
My school life was very much a wandering experience. I was having trouble in school and I was not making a lot of friends. So coming home and actually improvising on the piano and just coming up with melodies was an escape for me.
When I started off in Wales, I sang and accompanied myself with guitar in the '50s. And then I got a band together, which is a rhythm section, really. I used to do a lot of blues, and rhythm and blues, and '50s rock 'n' roll and country, and all kinds of stuff.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
If you don't have a good rhythm section, your band is toast; you're a bar band. Good rhythm section, you've got a chance to get out of the bar.
Me, coming from a low-income background, I really didn't take my studies serious as a young kid.
Jeph (Loeb) will call me with updates, and I'll go, "Are you f--king with me?" I never saw this coming, and certainly never saw it coming while I was still coherent and in the game. That's the difference between me and the previous generations. (Legendary X-Men writer) Chris Claremont had to wait decades before his s - t was on the screen.
Throughout my whole life, as a performer, I've never played with a band. I've always played alone, so I was never required to stay in rhythm or anything. So it was a real different experience for me to start playing with a band. There were so many basic things for me to learn.
What attracted me was less art itself than the artist’s life and all that it meant for me: the idea of creativity and freedom of expression and action. I had been attracted to painting and drawing for a long time, but it was not an irresistible passion; what I wanted, at all costs, was to escape the monotony of life.
Me coming from a karate and kickboxing background, Anderson Silva was like my idol, and so was Machida, especially with his karate background.
I joined the church choir because there were these two hot chicks. Then people started giving me compliments. 'You really have a good voice.' Really? I just joined the choir for these girls.
