A Quote by Julian Barratt

I was in a band called Groove Solution. Because there was a groove crisis, and we solved it. — © Julian Barratt
I was in a band called Groove Solution. Because there was a groove crisis, and we solved it.
Just because a record has a groove don't make it in the groove.
There's a surge, there's a kind of energy field that says, 'I'm in my groove, I'm in my groove.' and nobody has to tell you, 'You go, girl,' because you know you're already gone.
The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.
It takes me probably about four hours to get into the groove [with making music]. And it's really important for me to not break the groove.
I do not yet want to form a hypothesis to test, because as soon as you make a hypothesis, you become prejudiced. Your mind slides into a groove, and once it is in that groove, has difficulty noticing anything outside of it. During this time, my sense must be sharp; that is the main thing - to be sharp, yet open.
When I was growing up and listening to bands like the Dave Clark Five, the groove was what initially got me going. I really like that funky, heavy groove.
When you're in a groove, you're not spinning your wheels; you're moving forward in a straight and narrow path without pauses or hitches. You're unwavering, undeviating, and unparalleled in your purpose. A groove is the best place in the world. Because when you are in it, you have the freedom to explore, where everything you question leads you to new avenues and new routes.
In order to have that incredible groove that makes you dream you have to think not of the groove, but of the dream.
A lot of guys in New York will only play with an edge. They find their groove and that's their groove. to me, once I do that, there's no point in playing anymore because it should always be a mystery. Depending on who you are playing with, there are hundreds of ways of playing. I think that a master can play all those different kinds of time.
There's a certain groove you pick that makes the music flow, and when you have it it's in your pocket. It's the feeling behind the rhythm to me, the hardest thing to strive for is that feeling, behind the groove.
There's a certain groove you pick that makes the music flow, and when you have it it's in your pocket. It's the feeling behind the rhythm... to me, the hardest thing to strive for is that feeling, behind the groove.
It's funny, you know - time does travel pretty quickly, and I do have good friends, and the further away I go from them in location, it matters that I keep on the same line and the same groove that I had and preserve that groove with people who I see seldom.
I don't believe in taking much of a divot, especially with the longer irons. You want to barely comb the grass through impact. It's the only way to catch the ball on the second groove up from the bottom of the clubface. That's where you want to make contact: on the second groove.
The Heads were the only band on that scene that had a groove.
That's when I'm at my rawest. When I'm performing with the band. It's just like the groove is going, whether we're fast or slow, I can just transport myself.
When the band would leave the stage, and then the audience would just take over, and keep the groove goin'.
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