A Quote by Prince

You can always tell when the groove is working or not. — © Prince
You can always tell when the groove is working or not.

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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.
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.
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.
I have an uncomfortable groove, 'cause I have a lot of different kinds of stories to tell.
I always tell reporter that you always have to be working. If you are at a party you can have a good time but if you hear something talking about something new or different that's going on you have to be working. In this business to be at the top of your game you really can't unplug.
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.
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.
I feel with writing, so much of the time, I don't know how to tap in and be spontaneous and alive on a daily basis. So I don't write every day. I'm just not disciplined, and I can't be in the groove most of the time. I feel like I'm in the groove ten days a year or something. But with reading and research, I feel like I have this incredibly instinctive pleasure-driven process that ends up working out for me and inspiring me. It's almost like a maze, like I know eventually I'll hit the heart of my play if I read enough books.
In order to have that incredible groove that makes you dream you have to think not of the groove, but of the dream.
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.
Bass players and drummers are like brothers, working in the basement, cooking up the groove. If they don't lock together with the feel, the ensemble will suck.
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.
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