Rhythm Section Quotes

I don't want to be a lead player. I don't want to shred and play fast licks. I just want to be the best rhythm section ever.

There's a sound with Motley Crue, and it comes with Vince's voice, which is such an important part of the show, and Mick's guitar. And the way Tommy and me play together is an important part of it.

For me, it's always easier playing with a drummer.

Jazz music is a language of the emotions.

In respect for drummers, see, I love drummers.

The closest things to an influence would be people like Charlie Watts or Al Jackson. But I didn't really listen to drummers; I basically played what I thought was needed for the Ramones.

To me, the secret of Eddie Van Halen was Alex Van Halen, because the way Alex played was so loose and the way the two of them locked together… Those two are connected so thoroughly they might as well be one person.

It's a miracle was the last track recorded for the album, we based it on the rhythm from the middle of 'Late Home Tonight, where there's Graham Broad playing lots and lots of drums with me shouting in the background, pretending to be a mad Arab leader.

When I started out, even though you had your rhythm section, they were big horn sections, strings, live people laying on every part of the floor in the studio waiting for their chance to get on that one little track.

I've always been at war with the guitar. All vocalists are fighting a war with the electric rhythm guitar.

When I heard BB King's 'Sweet Sixteen,' I knew I wanted to play bass because that was the thing that made that record: the bass player.

Jazz is the music of the body.

The bass player's function, along with the drums, is to be the engine that drives the car... everything else is merely colours.

I'd like to have James Brown as my singer. I already have the best drummer, Tommy Clufetos. I've jammed a bunch with John Entwistle, and it was like a musical orgy. That guy is a living, breathing, grunting rhythm. For horns, let's go with the Stax/Volt guys, and I'm going to have Steve Cropper on standby just in case I want a rhythm guitarist.

Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.

With horns and a full rhythm section, the drums always looked like the best seat in the house.

Women and rhythm-section first!?

I tend to think about so many different things on a recording. I'll be trying to tune into what the drummer's doing, trying to keep everyone playing the groove and other things like making sure the piano's in a nice pocket.

The heart of a music is its rhythm. The heart of rhythm section music is the rhythm.

You can't beat two guitars, bass, and drums.

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 love the Memphis sound. When I was 16-and-a-half, with my driver's permit, I was playing New Jersey clubs in a 10-piece band; we had a horn section and would play great, great songs like 'Hold On! I'm Comin'' and 'Knock on Wood' and 'Midnight Hour.'

Jazz comes from a tradition where it swings. Swing was the main ingredient of jazz. And once it loses the swing...well, that's it.

With my little band, I did everything they did with a big band. I made the blues jump.

Catch Harry Belafonte. He's got a helluva rhythm section.And so have the Pointer Sisters. And that little guy with Sammy Clayton. He plays the whole show with 40 members.