A Quote by Teena Marie

I try to keep my ear to the streets without sacrificing who I am as an artist. If a song needs a drum machine I'll use a drum machine. If it needs a drummer, I'll use a real drummer.
When you're young you want to show people what you can do, no matter what the cost. Whereas when you're older, and you realise that maybe a drum machine is better than you playing, then use the drum machine.
I did a smaller gig with an acoustic guitar and a drum machine. In one song, something wrong happened with the drum machine. I tried to cover up the mistake by playing faster and improvising a new song but it became crazy, and I had to admit it was all a mess.
I don't have perfect pitch. My drums sound like a drummer, not a drum machine.
When I went in there, we used drum machine on "Time After Time" and "Human Nature".We don't use the drum machine to play a pattern. You play the pattern by being consistent.
There's so much to be said for making your guitar sound like a synthesizer and try to make your drummer sound like a drum machine.
While I absolutely love a great drummer and get tunnel vision listening to drums at a show, a lot of the time I feel like drum machine-driven music tethers you to a genre.
It's like swimmin' without warmin' up, yuo know what I mean? So [cackles] we use the drum machine, and we take it out.
My drummer right now, who was also the first drummer in Weeping Tile, Jon McCann, told me that [Hip drummer] Johnny Fay took drum lessons from [McCann's] dad, who taught a lot of the drummers in Kingston. He said that when he was in Grade 9, the Hip were the model; the goal was to get an agent and gig as much as possible.
But, I don't think any arranger should ever write a drum part for a drummer because if a drummer can't create his own Interpretation of the chart and he plays everything that's written, he becomes mechanical; he has no freedom.
Somebody gave me this drum machine and somebody else asked me to program something for a project. I really liked programming and I was really interested in using the drum machine.
For "Running Up That Hill" we had worked with a drum machine [in 1985]; the basic rhythms of "Running Up That Hill" happened because the whole track was built on a drum machine.
That's the thing that we said about the horn before: it's a focus issue. It's like a singer versus a drummer. If a drummer's playing a drum beat, and a singer starts singing, what do you think the audience is going to do?
In the late '80s and early '90s, there was a slightly retro drum sound that was popular in hip-hop music called the 808 bass drum sound. It was the bass drum sound on the 808 drum machine, and it's very deep and very resonant, and was used as the backbone as a lot of classic hip-hop tracks.
There is no music unless the drum and the drummer are one.
I've wanted to be a drummer since I was about five years old. I used to play on a bath salt container with wires on the bottom, and on a round coffee tin with a loose wire fixed to it to give a snare drum effect. Plus there were always my Mum's pots and pans. When I was ten, my Mum bought me a snare drum. My Dad bought me my first full drum kit when I was 15. It was almost prehistoric. Most of it was rust.
My dad was a kind of semiprofessional Dixieland-type drummer, and I learned the drums from him. When I was about twelve, we bought our first Ludwig drum set from a pawnshop - a marching-band bass drum, great big tom-toms, and big, deep snare drums.
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