Top 235 Groove Quotes & Sayings - Page 4

What a child does not know and does not want to know of race and colour and class, he learns soon enough as he grows to see each man flipped inexorably into some predestined groove like a penny or a sovereign in a banker's rack. Kibii, the Nandi boy, was my good friend. Arab Ruta (the same boy grown to manhood), wo sits before me, is my good friend, but the handclasp will be shorter, the smile will not be so eager on his lips, and though the path is for a while the same, he will walk behind me now, when once, in the simplicity of our nonage, we walked together.

It feels amazing to be back on set. It feels like home, even though the territory is a little bit unfamiliar because it's a new show, it's a new character, but once you get in the groove and you start to settle in and trust the moment, you start to really feel at home.

We are dealing with the best-educated generation in history. But they've got a brain dressed up with nowhere to go. Science is all metaphor. In the information age, you don't teach philosophy as they did after feudalism. You perform it. If Aristotle were alive today he'd have a talk show. If you don't like what you are doing, you can always pick up your needle and move to another groove. If you take the game of life seriously, if you take your nervous system seriously, if you take your sense organs seriously, if you take the energy process seriously, you must turn on, tune in, and drop out.

That's how you get deathless, volchitsa. Walk the same tale over and over, until you wear a groove in the world, until even if you vanished, the tale would keep turning, keep playing, like a phonograph, and you'd have to get up again, even with a bullet through your eye, to play your part and say your lines.

The focus of my playing is the groove, and every time I find a new rhythm, I find I can write a bunch of new songs. Learning how to dance, or drum, or to swing my body in a new way is the fundamental way I find a new riff. Because when you learn to swing your body in a new way, you begin to swing with your instrument differently.

In 1942 Cachao wrote a tune for Arcao, 'Rareza de Melitn,' with a memorable catchy tumbao. In 1957 Arcao recorded a reworking of it under the name 'Chanchullo'; and in 1962 Tito Puente reworked that into 'Oye como va,' still with that same groove. In this form, audibly the same, it powered Carlos Santana's multiplatinum 1970 cover version, close to three decades after Cachao first played it.

She got the way to move me, Cherry, she got the way to groove me.

I can appreciate people for being able to go that fast with their left hand, man. But I just can't groove to that beat. I'm sorry. It's just like somebody sweeping the floor or something - tik tik tik tik tik. It just doesn't really jam to me.

The effect of civilization is to impose human law upon environment until it becomes machine-like in its regularity. The objectionable is eliminated, the inevitable is foreseen. One is not even made wet by the rain nor cold by the frost; while death, instead of stalking about gruesome and accidental, becomes a prearranged pageant, moving along a well-oiled groove to the family vault, where the hinges are kept from rusting and the dust from the air is swept continually away.

People misinterpret my emotions towards Nirvana because I've said things about how something happened with grunge that took a little bit of fun out of things. It's no offense to Nirvana; they were one of the greats, obviously. But something died there, too, and we haven't quite gotten the groove back.

I talk very slow. I move very slow. I definitely have that Southern drawl and although I never necessarily participated in the activities that go along with screw. I definitely was a huge fan of screw. Because melodically, I don't ever really sing very staccato or very fast. It's really about a groove; it's really about a vibe.

SEASONS PASSED, FALL AND WINTER and spring and summer. Leaves blew in through the open door of Lucius Clarke’s shop, and rain, and the green outrageous hopeful light of spring. People came and went, grandmothers and doll collectors and little girls with their mothers. Edward Tulane waited. The seasons turned into years. Edward Tulane waited. He repeated the old doll’s words over and over until they wore a smooth groove of hope in his brain: Someone will come; someone will come for you.

Dad was pretty solid. He had great grooves and there was occasional moments of sheer brilliance with fills and things, but in general, the sheer brilliance is the simplicity, how much groove, how much feel he had, all the subtleties that we miss.

I'm a firm believer that embracing the imperfections of making music is so much of what makes something groove. Getting rid of these imperfections runs the risk of removing a lot of the magic that makes this music really special, and diminishes music's ability to connect with us as human beings. We are all imperfect, after all.

When you're sixteen and struggling to forge an identity out of a morass of hormones and daydreams, remarks like that cut a deep groove in the brain. I trace the ongoing, victorious-feeling semi-starvation of my twenties directly back to adolescence - as a way of showing those assholes that I could control my appetites... Which is so sad, in retrospect, because of course no one cared.

I think that's such an important message, especially for younger women, to know, 'I don't have to come out of the womb painting like Frida Kahlo. My very first thing that I make isn't going to be an around-the-world sensation.' You have to paint a hundred really ugly, barfy, diarrhea paintings before you come up with that one where you start to really get into your groove.

There were a couple of times, leading up to shooting [Ordinary World], where I was like, "Oh, my god, what did I get myself into? Hopefully, I don't ruin this guy's precious script." And then, after a couple of days of shooting, I started getting in the groove of it and it was really fun. I love being a rookie at stuff. It makes it feel vital. I love doing things I've never done before, and I love making stuff.

I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.

Well, once you get the groove of your life and you sort out the aspects of your life that you prefer, and you’ve performed all your responsibilities as a father and as a partner. And just discovery and the great adventure of having eyes wide open. There’s so much of this beautiful planet that is still actually spectacular and stimulating. There are so many amazing people that you meet along the way. By using my career as the wind in the sails of my adventures, I could see so many things and so many people that I might have missed had my career gone a different direction.

It is a simple matter to see the obvious, to do the expected. The tendency of the individual life is to be static rather than dynamic, and this tendency is made into a propulsion by civilization, where the obvious only is seen, and the unexpected rarely happens. When the unexpected does happen, however, and when it is of sufficiently grave import, the unfit perish. They do not see what is not obvious, are unable to do the unexpected, are incapable of adjusting their well-grooved lives to other and strange grooves. In short, when they come to the end of their own groove, they die.

All the greatest men are maniacs. They are possessed by a mania which drives them forward towards thier goal. The great scientists, the philosophers, the religious leaders - all maniacs. What else but a blind singlenee of purpose could have given focus to thier genius, would have kept them in the groove of purpose. Mania... is as priceless as genius.

People who care about records are always giving me a hard time. I mean, I would destroy records in performances, and break them, and whatever I could do to them to create a sound that was something else than just the sound that was in the groove.

Every single place that's brushed upon me has made me the artist that I am - from Nigerian Highlife music and the vocal melodies that I grew up on when I would be sitting with my father and his fellow chiefs, to the funk and freeness of the Bay Area groove, to L.A.'s smooth G-funk legacy, Brooklyn's lyricism, and now Atlanta's trap history.

There are days when you're in a good groove and the actor really understands the part and comes as prepared every day as you are and is so inside it. And then there's the day where, for whatever reason, it's just a harder slog. And I feel like those are the days where all the preparation and everything becomes more necessary because you have to find a third route there.

To me it's just the knock, man. It's the knock and the groove of the beat. When I start a song, it's the first thought. It's the first thought and the first cadence, because that's the most natural. You know what I'm saying? I feel like people can feel when something is natural.

I think we listen to music because we want to be changed. Music is not solely for our entertainment. Music has such tremendous power to bring joy. To me, that's our job as artists. Not happiness, not a groove, whatever. You must bring joy. I think that's the assignment. I have no doubt about it.

If the music in a groove fits with what you're playing, then play it; if not, then you can play it backwards. If that doesn't work, you try it at a different speed. If it really doesn't work you just break it. The whole ritual to put a record on a turntable just to listen to it, I don't do that too often.

I've had mental errors before while not shooting the ball well and while shooting the ball well, and vice versa. So I can't compound one on top of the other. It's just a matter of getting out of the groove of shooting bad and just staying more locked in.

In the States, this type of jam-band phenomena has opened it up for groups to improvise, admittedly more in the groove area, as opposed to the straight-ahead jazz thing - which is good for me, as that's one part of where I'm at. It's been so great playing these gigs and seeing kids come out and the whole college scene.

Occasionally, as an actor, you're not... Sometimes, at least for me, I'm not fully in the groove until the second or third take, in which I would not want to just stop. If it's a scene that takes a lot of work and time, sometimes the scene gets better with time, and sometimes it gets exhausted. I think it just depends on the scene.

There is a time in our life when we need to strut our stuff and groove on grandiosity, when we need to be viewed as remarkable and rare, when we need to exhibit ourself in front of a mirror that reflects our self-admiration, when we need a parent to function as that mirror.

As for the flood carving Grand Canyon, why don't they explain to us why the top of the Canyon is 4,000ft higher than where the river (Colorado River) enters the canyon? Why don't they explain to us how rivers miraculously flowed up-hill for millions of years to finally cut the groove deep enough so they could flow downhill?

Most of the time I sit down with my guitar or at the piano, and I play for awhile until I get a new riff or groove that I like a lot. Then I'll concentrate on building around that line of thought by adding words and textures. At first I'm only trying to please myself, and hopefully what I like will appeal to others.

You get this really cool groove when you're playing just piano, bass, and drums where everyone's sort of feeling each other's space, which is the only way to put it, but it really is true, and everyone's sort of sitting in their own pocket. It's kind of jazz-like.

I listen to everything from, you know, Buddha Bar groove music to international music, Italian music, like Eros. I like very sexy, funky music like Maxwell, Angie Stone, R&B...In my CD player, I've probably got Maxwell, Beyonce, Enrique Iglesias, and kid music...maybe some AC/DC. I mean a little bit of everything. It depends on what I'm doing.

I really got into psych because everything has a really good groove to it and it's nicely spaced out, but ultimately they are just cool pop songs with a little something else that makes them special and unique. They are interesting and have another dimension to them besides a three chord change.

When I joined, they were like "Woah, dude!", because I came right out of that type of playing. But obviously with P. Roach there's more groove. I like doing those slower big fills, but I also like injecting some of that punk rock urgency. But I definitely need to mix it up, because if I was playing all fast fills all the time, it just wouldn't work.

How much do people really want to learn? I mean, some people get into a groove and they stay with it indefinitely. And what starts off as a great moment of explosive passion can end up as cabaret 25, 30 years later. It just depends on whether you go and find the right habitat to extend yourself.

God must be a smell, one of those delicious dreamy aromas that float into the soul on the warm hopeful days of spring. What is God must be one of those smells that beguile and inebriate the mind, who like a fine drunken horse of water the heart now rides, galloping wild in every direction like a river flooding right through the topsoil of your youth, cutting and eroding a groove that will be your life, a canyon sunk deep into the virgin plains and unsawn forests of your early days.

I thought I was the only one who still enjoyed his record collection, but after reading 'How Records Got Their Groove Back,' I happily discovered I was wrong. There is something familiar about my old vinyl. Call it nostalgia, but I don't care for the 'purity' of CDs. They have no personality! The crackle and pop of the stylus on a record player as you wait for the music to begin creates an anticipation that CDs simply can't provide.

My definition of hip hop is taking elements from many other spheres of music to make hip hop. Whether it be breakbeat, whether it be the groove and grunt of James Brown or the pickle-pop sounds of Kraftwerk or Yellow Magic Orchestra, hip hop is also part of what they call hip-house now, or trip hop, or even parts of drum n' bass.

I would play all the parts of the song, show them the way it went together. Then I'd basically break down an arrangement - I wouldn't plan endings or beginnings - so they knew everything that was going on. I had the lyrics on a prompter so that I could remember everything I'd written, and I was able to just get into the groove and play with them. I think "Peace Trail" is one of the exceptions, where it's a later take. It just happened really quickly.

The feature film business, the studio film business, feels to me like there's just nowhere else to go. It's like a record that's just skipping at the end, with the needle stuck in the run-out groove.

It's much harder, much more work to be your own artist, and it's hard for me to just want to do one thing. I love doing my own music, but I really have to get into a groove with it, which has been difficult over the last few years because I've had so much great work coming in.

I love music so much that I have to try to make my own music. And not copy music. If I hear a song that I love - how is the groove and how is the beat and what is the feeling of this? - I can make it my own. So then I try, and I watch it become something totally different. But that's the way I have to do it.

I don't sing white; I don't sing black - I sing Bronx. When I sing 'Ruby Baby,' I'm rolling like Jimmy Reed. I wanted to communicate like Hank Williams and groove like Jimmy Reed.

What happens is people go, 'I want to play the guitar,' and the first thing they do is hit Google: 'How can I play this?' and the next thing you know, you've learned all these tricks, but you've never learned how to play rhythm guitar with a groove.

Any time I'm trying to find that groove on a big tempo song, I go back and listen to some Aerosmith records. 'Love in an Elevator,' 'Rag Doll,' all that stuff was really great music. It's something that I still dig and go back and listen to.

The groove can go for like three days - once I'm in it it will just keep going until I'm totally exhausted. But that's how I like to work, I like to be away from everyone and just get in the zone, and stay there for as long as I can keep it there.

It's really easy to play harmonics, anyone can do it. It's another thing to be able to swing, to make to make a band swing, to create a groove. Harmonics ain't everything. Being able to play harmonics certainly does not make you a good bass player. Cleverness is no substitute for true awareness.

There's always a transition if you go to a new territory or a new company or a new country or wherever because there's different styles and different crowds that you perform in front of. Of course, it always takes a little bit of time to find your groove.

Being the foundation is what I live for, some people call it being in the pocket, some people call it a groove. I think it's the heartbeat. There's nothing that feels better than that.

There are writers' rooms that will write episodes all together, who will break into little groups and write certain scenes. Everyone's process can be a little bit malleable. Everyone tries to get into a groove or find what works for their room.

Oh God almighty, another Detroit monster is Chad Smith of the Chili Peppers. Their music is intoxicating between Flea and Chad Smith. They're contemporary because they're still making good records, but I don't think there's anything new that has a groove and soulfulness. The Chili Peppers just stink of soul-and that's the ultimate compliment. They continue what James Brown created.

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.