To me, the hook of the riff is what makes a great guitar recording. It's the backbone of the whole song. When you have a strong riff, it's the rocket fuel for the track.
You see that in his foreign policy [Barack] Obama lacks a backbone - both a constitutional backbone and a personal backbone.
I come from a very musical family. My dad taught me to play guitar. I play violin and drums as well. Violin, I started in elementary school. Drums actually came when I was in a program called 'Rock Star,' which was really awesome. We were doing a song by the Ramones, so I thought, 'Why not play the drums?'
I'm definitely a guitar player, but it's the last thing I listen to in a song, after the singer and the drums.
If you're writing a song, you have to write something that can be understood serially. When you're reading a poem that's written for the page, your eye can skip up and down. You can see the thing whole. But you're not going to see the thing whole in the song. You're going to hear it in series, and you can't skip back.
I've always kind of had an interest in the drums but nothing else. The drums are the only thing I feel I would be good at, because I'm a very physical person. I've always played sports and stuff. Drums would give me something to do.
At a young age I thought, 'Wow, that fiddle thing, that's pretty cool. That mandolin is great. These drums, I like these drums ' They were Indian drums. And I was saying, 'But that guitar. That guitar. Girls are going to like that guitar.'
At a young age I thought, 'Wow, that fiddle thing, that's pretty cool. That mandolin is great. These drums, I like these drums... ' They were Indian drums. And I was saying, 'But that guitar. That guitar. Girls are going to like that guitar.'
We always do kinda like the bare bones representation or variation of the voice and drums, which is what we feel is the foundation or backbone of rapping and hip hop.
I'll flip samples where one's a completely dark song and the next one is a complete sexual song. People think my whole thing is a dark thing, but I don't.
Making a record's a real fight for me. I'm constantly fighting with this thing inside of me that says I should be sitting in a room with Matthew Shipp or I should have Han Bennink on drums or this song should be playing for the next 20 minutes in my head, not a silly little pop song. It's constant.
I wrote a song with Kara DioGuardi called 'What If,' and it's a really beautiful song. It's kind of like a rock ballad. There's a lot of guitars and drums in it.
The important thing is the family. If you can keep the family together - and that's the backbone of our whole business, catering to families - that's what we hope to do.
You listen to a Metallica song, and you listen to the drums, and they're not necessarily swinging, but the arrangements are different. Why is that? Because it's more in tune with jazz arrangements. It's very different. It's not a traditional rock and roll production, in terms of the drums.
All I ever wanted to do was play the drums; I felt good about myself when I played the drums. So I worked anywhere and everywhere I could lug my drums in.
The bass player's function, along with the drums, is to be the engine that drives the car... everything else is merely colours.