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.
With Rage, we wrote riff rock and had rap vocals, so we didn't really concern ourselves with melody for the most part.
The first thing I heard was spiritual music, which was imbedded. The second thing I heard was swing. And shortly, along with that, I began to hear the blues. And then I began to hear Latin music. Each one left its mark.
Sometimes I play guitar like a frustrated drummer.
My music isn't anything but me. It has jazz in it, and rock'n'roll, and it has an urgency to it.
I can relate to soul, R&B... whatever people want to call me is fine. I just hope it makes them feel something.
The Heads were the only band on that scene that had a groove.
A good groove releases adrenaline in your body. You feel uplifted, you feel centered, you feel calm, you feel powerful. You feel that energy. That's what good drumming is all about.
Whenever I think about funk music, it has a look - and that's how it sounds.
I use rock and jazz and blues rhythms because I love that music. I hope my poetry has a relationship with good-time rock'n roll.
When I listen to something, I like to be taken out of my seat and thrown across the room. If it sounds good and feels good, that's it.
We Can't Stop' has so many different vibes to it. She sounds country; the beat has these live, knocking drums; and then it has these pop melodies. It's a feel-good record.
I love The Edge's guitar style; it is unique. There is an ancient world resonating in his guitar sound.
Jazz tickles your muscles, symphonies stretch your soul.
