A Quote by Jon Pardi
'Swagger' would be the word for 'Dirt On My Boots.' With the real funky drum loop and the ganjo rolling down, and then the fiddles and the guitar and steel, it really took an old school style where it's fiddle, steel, guitar, and mixed it with a drum loop.
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I remember doing "As Cool As I Am" and Steve Miller, the producer, saying "I really hear a drum loop here. I want to play it for you." When I wrote it, I thought, "This isn't going to sound very folky. I don't think it's going to go with mandolins and banjos." Then he played the loop for me and it sounded right.
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.
Since I first picked up the violin, I've been very interested in tone and texture: I would have very visceral reactions to the texture of a snare drum or a pedal steel guitar or a violin.
It's a weird sound [ "Animals"] inspired by a hip hop drum loop. I listen to a lot of hip hop tracks and it's not used quite often in House currently. I chopped up the loop and edited it so you wouldn't recognize the original.
I can take the steel guitars and fiddles off, we can make it a little more pop, cover ideas that are a little less cowboy. But you got to look at yourself in the mirror and ask, whose flag you are under? For Garth Brooks, I'm steel, fiddles, red, white and blue.
I was playing with steel picks on a steel guitar, and there was no amplification needed.
Sometimes there are times you actually don't want to be in the information loop on some rumors; because once you're in the loop, then if something leaks, you're one of the people in the loop.
I normally start at the computer with something really simple like a four-bar loop of a drum sample or a bass line. And then I just start adding layers of synthesizers.
I wanted to call it 'Experiment' because it's all kinds of different sounds. We have a bunch of instruments on there that are basically going extinct, like the fiddle, the steel guitar, the slide.
A lot of times I use live musicians, but I don't want it to have that live funky sound so I'll just take the best loop of a drum part and repeat it over and over and over again so that there's consistency and it feels a little bit more programmed. But I have a love/hate relationship with comping as well.
Dorsey played the upright bass and steel guitar, as well as acoustic guitar. Johnny played acoustic guitar and together they were fabulous songwriters and singers.
I think of every double-decker loop as another loop towards my death. And that is why I've always thought of the double-decker loop as - each loop as a continuous and individualized search for perfection.
I feel like, with drum programming, the way I used to do it, I'd think of how somebody would play these drum patterns and then try to replicate that through programming. It's not that it's better or worse, it's just a different style.
I write on the acoustic guitar, I write some on the piano, but I've been messing around with these guitar pedals and drum machines, educating myself in that world.
It's like a painter with various layers of paint. I start with a drum loop and add keyboards, and then melodies start to take shape. The vocals happen later. I've never really done therapy before, but it's a form of therapy. Everything else falls away.
There's just not a lot of guys around playing like that these days; a lot of steel players are plugging into stomp boxes, trying to sound like Jeff Beck on a steel guitar.
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