A Quote by Kanye West

I can always tell if a band has a British rhythm section due to the gritty production. — © Kanye West
I can always tell if a band has a British rhythm section due to the gritty production.
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.
I have a West Coast rhythm section and a New York rhythm section. I've got them spread out all over the place.
An important part of being in a band is the rhythm section.
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.
The thing that I always notice that dates a record is the rhythm section. With a good arranger the music can be timeless. But, rhythm can change, because heaven knows, we didn't know rock was going to come in, did we?
One of the main reasons I wanted to do 'Freefall' was that it's a complete contrast to what people see of me from being in the band. It's a gritty role and a gritty film.
The rhythm, the sounds, the tonality, the chord sequences, the individual effect of each instrument and each section of the band - I'm talking about a whole continent in my music.
The relationship in Pantera and with Damageplan is the opposite of the traditional rhythm section. It's me and Dime, not the bass, locking in always. Dime's such a strong rhythm player that we just walk in, and we're good to go. We've been playing together forever, and when he goes somewhere, I instinctively know where he's going.
I think that the rhythm sections, drummers in particular, are the unsuing heroes of the music. It's the rhythm section that has changed the styles from one period to the other.
It's always been my dream to have a monster rhythm section that's just all groove and pocket.
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'.
With horns and a full rhythm section, the drums always looked like the best seat in the house.
At Carnegie Hall the Preservation Hall Jazz Band showed how easily it could hop from era to era. It could work like a rhythm-and-blues horn section or a tightly arranged little big band if need be, but it could also switch back into the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time.
I can't get very excited about a musician who can do Art Tatum because I've got the Art Tatum records. I want to hear him take that and do something that hasn't been done. And there's enough of that going around that keeps the music very exciting. There's so many great young players coming out. I think we're in some kind of renaissance, especially in the rhythm section. I mean the musicians on drums and bass and guitar are really trying to figure out different ways to bring a rhythm section together.
Look, I like gritty. I write gritty. There is a time and a place for gritty. I'll take my Batman gritty, thank you, and I will acknowledge that such a portrayal means that my 11-year-old has to wait before he sees The Dark Knight. But if Hollywood turns out a Superman movie that I can't take him to? They've done something wrong.
As a songwriter, I've always loved to tell stories. But in my band, it was always about what would make sense for a band to put out.
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