An important part of being in a band is the rhythm section.

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

I can always tell if a band has a British rhythm section due to the gritty production.

I tend to think of the organ as part of the rhythm section, rather than a frontline voice.

It's always been my dream to have a monster rhythm section that's just all groove and pocket.

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

And I like messing around in the engine room of music. Seeing what happens in the rhythm section area.

I had the house rhythm section at a club called the Sundown in Hartford. Stan Getz came up and played with us.

I have a West Coast rhythm section and a New York rhythm section. I've got them spread out all over the place.

My nails are my rhythm section when I'm writing a song all alone. Some day, I may cut an album, just me and my nails.

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.

I always felt as a horn player, a jam session wasn't satisfying enough for me. I should have been a rhythm section player, actually.

If you don't have a good rhythm section, your band is toast; you're a bar band. Good rhythm section, you've got a chance to get out of the bar.

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.

Without the Fender bass, there'd be no rock n' roll or no Motown. The electric guitar had been waiting 'round since 1939 for a nice partner to come along. It became an electric rhythm section, and that changed everything.

New Year's Eve, we're going to be doing a concert with the Philadelphia Orchestra in Symphony Hall. It makes me feel good, because of all the people they could have had, they wanted me! We do have to do a little work with the rhythm section.

I find motion, literally, is where ideas come from. It's almost like a built-in rhythm section. The contents of the songs are about change, and a lot of that stuff happens when you're on tour, and you wake up and you're in a different place and you start thinking about where you're going and where you've been.

I wanted to represent the brothas I have seen when I go to the rhythm section of Oakland, hearing brothas speak and tell me about their journeys. Men who have been to prison and found themselves, brothas who have made mistakes but are loving their wives and children, trying to protect them and educate them. These men do exist.

The relationship in Pantera and with Damageplan is the opposite of the traditional rhythm section. It's me and Dime, not the bass, locking in always. Dime's such a strong rhythm player that we just walk in, and we're good to go. We've been playing together forever, and when he goes somewhere, I instinctively know where he's going.

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