Rudy Ray Moore Quotes

To me, if you're going to talk about funk, you have to go back to George Clinton and Bernie Worrell. Those guys are the giants. I've played with Bernie, and it was unreal. He's the master.

Every time I want to impress someone about samples and hip-hop, I play 'Portrait of Tracy.' It's one of the greatest bass players ever doing a whole composition with only the two harmonics of electric bass; then a three-second loop in it became every great R&B song in five-year intervals.

They use all of the music that I did in the '50s, '60s and the '70s behind people like Tupac and LL Cool J. I'm into all that stuff.

A lot of the music that you listen to now is because of the things that the Meters did, the Neville Brothers did, and they're there, the guys who invented those beats that the guys sample today. Such an enormous opportunity.

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.

Every James Brown cut makes a party get crazy. He's the god of all music. I always play different wild remixes of his songs because people start bugging out when they realise what I'm playing.

Prince is from the school of James Brown, and I love James Brown because of all the great rhythms he plays.

James Brown's music still sounds as fresh and as good and as new as it did when he first created it.

Everybody knew James Brown. Every musician dreamed of being in his band.

I think what makes his story unique from others is there is not really one piece of American pop music you hear today that does not have some James Brown in it.

I was a huge fan of '90s hip-hop, and a lot of what they got their music from was funk and soul records. They just, like, take a clip of that and rap over it because, you know, that was just kind of what was up.

I love a good lyricist - always have. The thing that inspired me most was the different performers, like Tina Turner, James Brown, Michael Jackson, Madonna, even Janet Jackson.

It's like James Brown used to say... I don't know, but whatever I play it's got to be funky.

You can't really dance properly to James Brown. If you dance to James Brown, you look like an idiot. There's a lot of jerking.

I was never really that interested in the punk movement. I was a blues guy: I liked Motown, James Brown.

I was a James Brown junkie as a kid.

You want a hero in the music world? James Brown. He brought a feeling to music without really using words. He's just famous for his sound.

When I started playing, I played in R&B bands. I played James Brown, Wilson Pickett, Otis Redding and all that.

One night all the James Brown band was playing on stage and I look in the back and I could see Mick Jagger and Keith Richards trying to get in the club and they couldn't get in cause it was to crowded.

I listen a lot to rap, and I'm inspired to take it, to use it in another way, to get the message across.

The music I was really listening to in 1968 was James Brown, the great guitar player Jimi Hendrix, and a new group... Sly and the Family Stone, led by Sly Stewart from San Francisco.

I'm still somebody that listens to a lot of James Brown, a lot of The O'Jays, a lot of TLC... in that era, producers had more musicianship.

I'm somebody who listens to a lot of funk, a lot of James Brown, and I want to be somebody who contributes all that energy to the mainstream.

With L.A. it's like, yeah, there's Death Row and whatever. But I always wanted to know what those artists were sampling. It's how I fell in love with music.

I'm definitely inspired by Stevie Wonder, Michael Jackson, Whitney Houston, James Brown, Lauryn Hill.