Top 463 Drummer Quotes & Sayings - Page 8

I love playing. In lots of ways, I think having been able to carry on playing purely out of love rather than having to do it for a living means I still love the drums. It helps that, if I don't want to play, I don't really have to! I'm not the best drummer in the world, but it's something I love and enjoy, and that sounds like a good trade.

I was listening to a lot of really early house music tracks. Like Chicago house and Detroit. And Marshall Jefferson has a track probably from 1980 - somewhere around there - that doesn't actually have any electronic instruments, no drum machines, nothing. Just a drummer and a piano player and they're playing this house music, but they're actually playing it. I really love that aesthetic and wanted to bring that into the album.

Ringo, the last to become a Beatle, came into the group not because I wanted him, but because the boys did. To be completely honest, I was not at all keen to have him. I thought his drumming rather loud, his appearance unimpressive, and I could not see why he was important to the Beatles. But again I trusted their instincts and I am grateful now. He has become an excellent Beatle and a devoted friend. Ringo is warm and wry-witted, a good drummer, and I like him enormously. He is a very uncomplicated, very nice young man.

I was a journalist. I was a drummer. I was everything. I didn't know what the heck I was. But with Jack Paar, the job was very specific - no confusion. You came in each day. You wrote five pages of jokes. You handed the pages in... The pressure was to write five pages of jokes every day. I did it, and I thought, 'This is what I like to do.'

Advice to rock gods: drugwise, stick to Ibuprofen, decaf lattes, and pale Pilsners ... If your stomach is not a flat slab, please leave your shirt on while performing ... If your girlfriend asks you to choose between her and your music, sell your instruments immediately - especially if you're a drummer ... Finally, go easy on the supermodels, don't forget to tune, and remember: a tiny bit of dry ice and lasers goes a long way. Ditto with tattoos.

As rich as you think some of us are, for every $18.99 CD you buy, the artist usually sees a toonie or so. Pay your producer out of that. Then your manager. Then split it five ways among your band mates. Now don't act surprised when you see the drummer of a platinum-selling Canadian rock band behind the drive- thru window at Tim Hortons

My first ones were The Young Rascals. I made out with Dino Danelli, the drummer, in the alley behind the City Auditorium. Then I met Crosby, Stills, Nash & Young. Mitch Ryder & The Detroit Wheels. This is all way, way back in the day. Later I got in the big leagues, like chasing around The Rolling Stones. And I hid in the bus for Paul Revere & The Raiders. And The Zombies.

I was in orchestra in high school, but I really started when a friend of mine who's a drummer showed me some things. I was always just really fascinated with drums, it was the instrument I was always drawn towards. My ear sort of went to rhythmic aspects of music and songs. But he really was the beginning point of starting me on drum sets; like I said, I was in the orchestra first and I was playing orchestral snare and mallet instruments first.

I met the guys at HeavyRoc through the drummer in St. Lucia, Nick Brown. He is Ben from The Knocks' cousin, and at the time we'd been doing some work together, but everything was still very much in the unsure developmental phase (even though I'd been in it for a year and a half). I told him that if he was going to play the music for anyone that he shouldn't say anything about it and should just play it and see if anyone says anything, and he did it one day at their studio and they loved it and got it touch.

I started as a drummer, so I sort of took on singing duties by default. I had sung backgrounds and some lead vocals from behind the drums in different bands that I'd been in, and I'd gotten great responses for the songs I would sing. I really started pursuing the possibility of being a lead singer based on the fact that I was working a full-time restaurant job and then playing gigs at night, hauling drums around. One day, it just dawned on me that, 'Hey, I could be in a band and be the singer, and it would be a lot easier!'

I hope people just enjoy the music. I'm not worried about any sort of legacy. Whether people view me more as the drummer in Wilco or as a composer who composes primarily for rhythmic reasons - it doesn't matter to me as long as they dig the music. None of that matters to me if the music is crap.

The most inspiring drummer for me is Stewart Copeland from The Police. The Police are the first band I can remember really liking, and Copeland is a guy who was playing in sort of a rock band, or a rock-pop band, but he didn't want to do the traditional kind of rock drumbeat. He was doing all these kind of reggae rhythms, and the reggae style is almost an exact opposite of the rock mold of drumming.

You simply cannot give to the world all that you have to give to the world if you do not remain true to your own "selfish" desires. You have a unique set of precious values that can only be fulfilled by pursuing what drives you the most: your passions and dreams. Could Thomas Edison have tended to the downtrodden as Mother Teresa did? Could Albert Einstein have preached salvation as Martin Luther King Jr. did? Could Abraham Lincoln have built cars like Henry Ford? Always, the masses benefit from the individuals who insist on marching to the beat of their own drummer.

One of the greatest learning experiences I had was hanging out with Maureen Tucker from the Velvet Underground. There's a woman who has no training and has a very simplistic and very tribal drumming style. I don't even know that she can even do a drum roll, but she's probably my favorite rock drummer because she plays every note perfect.

I used to tour with this band. I was a drummer. I would tour a bunch for about 10 months out of the year and act for about two months. I would make what I needed from acting and would stretch it out.

I didn't date my wife in high school, but she was definitely by far the coolest woman there. She was definitely the most beautiful, but she also marched to the beat of her own drummer. I was in New Orleans 10 years after high school and my friend played matchmaker with us, and that's kind of how we got together.

I don't ever have any bass in my monitors at all; I instead like to lock in with the guitar. I know the bass player has got to be locked in with the drummer, but to me, metal music is about the guitar and drums locking in and operating like a machine together. I played with my brother forever, and we were magically locked in together.

I could sing and play as well. I've got some brothers; one of them is the drummer in the band. They're good musicians. I play for fun. They play properly. Music in general, I grew up in a house of musicians. Everybody's life has a soundtrack, I'm sitting here talking to you but there are horns beeping outside. I know I'm in New York. That's an element in the film as well. How strong that sense can be.

A broadsheet obituarist once pointed out to me that veteran soldiers die by rank. First to go are the generals, admirals and air marshals, then the brigadiers, then a bit of a gap and the colonels and wing commanders and passed-over majors, then a steady trickle of captains and lieutenants. As they get older and rarer, so the soldiers are mythologised and grow ever more heroic, until finally drummer boys and under-age privates are venerated and laurelled with honours like ancient field marshals. There is something touching about that.

I was a guitar player in a band that had two keyboard players, sometimes two other guitarists, a bass player, and a drummer, four or five singers, and percussion. We did a two-and-a-half hour show where the music spanned from the early Sixties to the present. Whereas the David Lee Roth thing was like, Now. Very big and intense.

I don't like driving through the rain. Your tour is only going to go as good as your bus driver, kinda like your band is only going to be as good as your drummer.

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.

We haven't started playing it live yet but we're going to. And then 'Warpaint' is a song that's really, really close to me because it's actually - we've had that song for many years now and it's changed so many times, it's been through every reincarnation of our band with every drummer, with sometimes with me playing drums, it was when we were a three-piece, every incarnation of the band that we've had we have played that song.

It is simple to follow the easy and familiar path of personal ambition and private gain. It is more comfortable to sit content in the easy approval of friends and of neighbours than to risk the friction and the controversy that comes with public affairs. It is easier to fall in step with the slogans of others than to march to the beat of the internal drummer - to make and stand on judgements of your own. And it far easier to accept and to stand on the past, than to fight for the answers of the future

As a conscientious objector I did my community service in 1971 in a psychiatric hospital and a friend there, who also was a guitar player, invited me one day to join him recording film music with a band named Kraftwerk which I didn't know at the time. I came along and jammed at this session together with Ralf Hütter and a drummer (I believe his name was Charly Weiß). Florian Schneider and Klaus Dinger were present as listeners and everybody liked the spontaneous music we did together.

I have always tried to teach my players to be fighters. When I say that, I don't mean put up your dukes and get in a fistfight over something. I'm talking about facing adversity in your life. There is not a person alive who isn't going to have some awfully bad days in their lives. I tell my players that what I mean by fighting is when your house burns down, and your wife runs off with the drummer, and you've lost your job and all the odds are against you. What are you going to do? Most people just lay down and quit. Well, I want my people to fight back.

There's always only been three of us [drummer Joey Shuffield, vocalist, bassist and keyboardist Tony Scalzo and myself], but when we first started we didn't have anybody augmenting the band, so everything had to be kinda to the point anyway. We did that record and toured a while on that, but I just got sick of playing it every night. It felt like doing push-ups to me.

We reckoned we could make it because there were four of us. None at us would've made it alone, because Paul wasn't quite strong enough, I didn't have enough girl-appeal, George was too quiet, and Ringo was the drummer. But we thought that everyone would be able to dig at least one of us, and that's how it turned out.

In general, we like to play as a band - guitar, piano, and voice. We also tour with a bass player, a drummer, and somebody who plays keyboard and guitar. We try to play all of our parts and flesh it out to get a lush sound, while also keeping the energy of a three-piece punk act. We want to be the best of all possible worlds.

More than any other drummer, Ringo Starr changed my life. The impact and memory of that band on Ed Sullivan Show in 1964 will never leave me. I can still see Ringo in the back moving that beat with his whole body, his right hand swinging off his sock cymbal while his left hand pounds the snare. He was fantastic, but I think what got to me the most was his smile. I knew he was having the time of his life.

Before I joined Kraftwerk in 1971, I played guitar in a band called Spirits of Sound, whose members included (at times) amongst others singer Wolfgang Riechmann (Sky Records released his only solo album Wunderbar shortly after his death in 1978) and drummer Wolfgang Flür (later on Kraftwerk, now solo). The music of S.o.S. in the mid 60's first was the English pop and rock music of the times (Beatles, Kinks, Rolling Stones ).

I met the pianist Barry Harris when I was about fifteen. He would show me changes, which I had no idea existed. I knew about scales, but I didn't think about chords. I was fortunate in that he lived right around the corner so I'd be at his house almost every day and he showed me about playing melodies over chords. After about three years, I could play some gigs. I worked with drummer Roy Brooks and other guys my age at that time, like trumpeter Lonnie Hillyer. Some of the older guys were Paul Chambers, Doug Watkins and Louis Hayes

I started playing instruments before I started making beats, and I was never the best guitarist or the best pianist or the best drummer. And when I started making beats, I was not the best beatmaker, and when I started making hooks, I was not the best vocal melody person. When I first started rapping, I wasn't the best rapper at all.

I'd much prefer to hear somebody like Ed Thigpen [drummer with New York session group Stuff, and featured on innumerable hits] take a solo. I mean, that's what it is. I'd much rather hear that than the jazz/rock thing because it's blowing an aspect of jazz that I really like...the level where you can snap your fingers to it and you can groove to it. You can do anything to it.

If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away. It is not important that he should mature as soon as an apple-tree or oak. Shall he turn his spring into summer? If the condition of things which we were made for is not yet, what were any reality which we can substitute? We will not be shipwrecked on a vain reality.

Three of tonights performers are members of the group Return To One, whose album Hopes and Dreams I heard for the first time a couple of weeks ago. Blown away by the album, I called Nathan Hubbard, the drummer and composer for the group, and with whom I've played on a couple of Trummerflora-related occasions, and asked him to round up several of his Return To One cohorts for tonight's show. I can't recommend their album highly enough; please pick up a copy.

We first got marijuana from an older drummer with another group in Liverpool. We didn't actually try it until after we'd been to Hamburg. I remember we smoked it in the band room in a gig in Southport and we all learnt to do the Twist that night, which was popular at the time. We were all seeing if we could do it. Everybody was saying, 'This stuff isn't doing anything.' It was like that old joke where a party is going on and two hippies are up floating on the ceiling, and one is saying to the other, 'This stuff doesn't work, man.'

I would be happy if I could meet some musicians interested in different acoustics and traditional music. Maybe I will find some Native American or Latin tunes. Anything. Even maybe a great heavy metal guitar player or drummer, and we can do something wild together. My next step is making more music without formats or borders. Not just simple songs or doing covers, but music with more ideas. I think it will again be a synthesis with something else.

We changed the name from Sex Gang Children to Culture Club because Jon Moss, our drummer, went to L.A. on holiday and took some demo tapes with him. -Everyone loved the music but nobody liked the name. I -remember getting a postcard from Jon from L.A. saying, "I don't think America's ready for the Sex Gang Children."

I got a drum set at the age of four. I wasn't playing that well, just kind of banging around. I just wanted to play drums and my dad got me a set. I played for several years, but I wasn't meant to be a drummer, I guess. I can play drums on my own things - obviously on some of my own records I play drums. But I didn't start playing guitar until I was 11.

One that really caught me was Joe Morello. He was the first drummer I ever saw that could do a roll with one hand. He would turn his hand over and use his fingertips to get the stick bouncing. He could sit there with his right hand doing stuff on the cymbals and tom-toms while he was doing a roll with his left on the snare drum.

I think that we just take our time with everything. We don't feel that there's a rush to become something that we're not yet. We like to really feel things out and know what we're doing. We hadn't ever really played a lot of shows live after we released our EP, and that's when we started doing it - we started playing out live consistently right after we released our EP and we got a new drummer because Shannyn [Sossamon] had quit.

Everybody besides my piano player has been with me since the very first day. We were a four-piece band for a solid two years. It was me playing acoustic and rhythm electric guitar, a bass player, a drummer and a lead guitar player. For a couple of years, we sounded like the Foo Fighters.