Joey Jordison Quotes

People lump us into the nu-metal category, and there might be a hint of that stuff, but if you really listen to a nu-metal band and then listen to Slipknot, it’s so apples and oranges that it’s retarded.

‘Blood Host’ is super heavy. Especially on the verses, it has an industrial stomp. It’s one of my favourite tracks just because the plot of it is so heavy. It’s a total crushing tune; it doesn’t get any heavier than that main riff, just a straight quarter-note powerhouse.

Life takes you down weird paths.

Every day, I look at life different; I don’t take things for granted.

That’s the way a musician is. You’re isolated, in a weird way, because music is haunting you as much as it’s loving you. It’s non-stop.

A lot of the time, I will write a guitar riff first. I don’t write drum riffs first.

‘Master of Reality’ rules; it’s one of my favorite records of all time. It has some of the most evil riffs on it – and some of the sexiest riffs as well.

I just can’t bring myself to see Sabbath without Bill Ward, because he was such an integral part of that band.

Heavy music is really getting its due. With nu-metal fallen by the wayside, real metal has started to surface.

Playing drums, for me, is like breathing. It’s like thinking. It’s like eating. It’s like walking.

Playing drums is how I communicate. It’s how I speak to people. That’s my God-given gift.

The mask is a pain thing. It’s clammy, and your body is moving all over, and you’re locked into this thing, and you can’t get out.

Slipknot’s music is very technical and intense, and it’s not easy to play, but that’s what makes it special. What’s so gratifying about playing a show that is that intense is when you get off the stage, and you know you really delivered at the top of your ability and performance; that is what makes it all worthwhile.

The doctors said I might not be able to walk again. Today, I can almost run, but back then, I couldn’t even stand up. I was bed-ridden. If I wanted to turn over in bed, I had to move my legs with my hands. I was in and out of the hospital for months.

First and foremost, I make music to satisfy my creative urges, but at the same time, I know my fans are waiting, so they’re the ones that push me to keep going.

I’ve been a fan of Zombie’s since the beginning. I’ve toured with them and have always wanted to play for them.

On the records that I grew up with and loved, every song was unique – it’s almost as if you had a different journey every time – and the drums were big part of that story.

I want to get out as much art as I can while I’m here, and I seem to get better the more that I do it.

I’ve got so much material; like, it feels as if every day I’m coming up with so many riffs.

There is nothing whatsoever friendly about Slipknot. Corey may have a singing voice, but it’s always been done with so much passion that it’s always been brutal.

When you have the power of music within your soul and your heart, nothing can stop you.

The power of music, and the power of your determination in life, especially when you’re playing extreme metal like this… it just conquers. It conquers everything.

What better to get all the anger and stuff out for what I do in Slipknot than to play the drums? You’re punching everything, really fast, concentrated.

I’ve been into 3IOB since ‘Battle Cry Under a Winter’s Sun.’ I’ve wanted to work with them since.

A great drum record has to sound good; in fact, it should sound special. It should capture the richness and the actual tones of the drums themselves, regardless of who is playing.

The music has always been the first and foremost element in our career.

The heart bleeds music no matter what, and it bleeds different types of music.

Slipknot is hard work; I don’t care what anybody says.

There was a time when I was beat down, and I lost my way.

I think that no matter how old you get, you are always learning about yourself.

I got over the transverse myelitis stuff; I’m walking great, and I’m playing faster; I mean, I’m just playing all the time. I have to, just as exercise.

I pretty much use the same stuff live that I use in the studio. I don’t like the feel to change too much.

The riffs, lyrics, and drums of ‘Open Your Omen’ will tell you a lot.

Slipknot’s not about who’s in the band. It’s a lifeblood. It’s a force. It’s about a connection between a bunch of people.

I saw Kiss on ‘The Dick Clark Show’ in, like, 1980 or something, and ‘Kiss Alive!’ was the first record of theirs I had.

I’ve been using Pearl for so long, ever since I was a kid. Same thing with Paiste. They have both taken such great care of me, and I can’t thank them enough.

I lie more with drums and the more heavy and darker aspects of music.

I’m so excited ‘Doctor Who”s coming back. It’s a great show, wild and exciting. I watched it as a kid, and it freaked me out.

When someone’s in the hospital – be it a family member or anyone that has something wrong with them – if you love ’em, then you visit them.

I didn’t quit Slipknot. I would never have quit Slipknot, ever.

My advice always is to start very simple and master your timing and master the most simple beats that you can, and you just keep elevating from that. Trying to go right into playing fast is not necessarily the best way to go about it, because if you don’t have your foundation locked in, it’s hard to progress.

Without Slipknot, I would not necessarily be where I am today.

I wasn’t worried about flash or persona… It’s all about writing a good, solid song.

The first mask I had was an original pale-white kabuki mask.

I’m used to living out of a suitcase.

‘Vol. 3’ has broken down more barriers for us. We worked with different styles on this album. It’s more musically mature in arrangement and is conceptual.

I use Pearl Eliminator Pedals and I swear by them.

I was in band all the way through high school, and I played in jazz competitions all across Iowa.

‘Vol. 3’ is the most pleasing of our albums to me. And I want to keep making albums that are different from each other. And you can bet all our albums will have that twist that only Slipknot can do.

I’m not more into one scene than any other, and that’s why I feel very lucky to be able to go into two different styles of music and be successful at both.

Basically, death metal, as a musician on my part, it just changed everything as far as the technicality and where you could take music.

Keith Moon was amazing as a drummer, but he was also a nut, and it reflected in his drumming. And the great thing about Who records is that you can almost get hold of the vinyl and feel his heart.

I sleep music. I wake up, and there’s a riff in my head. Every step I take, there’s a riff, a beat, or something.

Without Metallica, we wouldn’t have a lot of the bands that we have now.

I play guitar all the time, and I’m constantly thinking of songs… Every time I pick up a guitar, I come up with different riffs, all different bands I’ve been in. Sometimes there is a song or riff that could only belong with Slipknot, and I just can’t use it for anything else, regardless of whatever happened.

I’d been working on new Slipknot material since the end of the ‘All Hope Is Gone’ tour cycle, but I ended up with so much stuff, I had to take a step back and stop working on it.

I actually played guitar before I played drums. And I always play guitar on the Slipknot albums as well, as well as being responsible for a lot of the songwriting.

‘My Swan Song’ – that song is so depressing but uplifting at the same time, you know what I mean?

What’s cool about making music is when you create a record, it comes from somewhere.

Proper Sabbath is Sabbath with Bill Ward. I’m sorry, it just is.

Slipknot will never die. As long as we’re together, it just won’t. When it’s time for us to end, we’ll know when it’s time.

I’m always in the right headspace! I live pretty much in isolation, so there are really no distractions. That’s not a manufactured thing; it’s just the way I live.

I’m writing music that people can grasp and hold on to… something that resonates. If you don’t have that, then you have nothing.

Metal music is a very fan-oriented, fan-protected music – very sacred.

No matter what comes your way, being a musician, you will never, ever learn to play it all.

I love listening to old records. Stuff from the ’70s, even disco and funk records and a lot of early rock albums – what’s great about those recordings is that you can actually hear the true tones of the drums themselves.

I got really, really sick with a horrible disease called transverse myelitis; I lost my legs. I couldn’t play anymore. It was a form of multiple sclerosis, which I wouldn’t wish on my worst enemy.