Blues Quotes
Most Famous Blues Quotes of All Time!
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My big influences are Joni Mitchell, and a lot of classical and Indian music, as well as Nina Simone and the personal blues and jazz of Billie Holiday. Other influences for me include Bjork, Nick Drake, and Sufjan Stevens.
I'm also a blues musician, and all blues artists can trace their pain to the slavery fields of the Mississippi Delta.
My early influences were the Shadows, who were an English instrumental band. They basically got me into playing and later on I got into blues and jazz players. I liked Clapton when he was with John Mayall. I really liked that period.
The Ramones are not an oldies group; they are not a glitter group. They don't play boogie music, and they don't play the blues.
You ask any Olympian what the year after the Olympics is like - you always get the Olympic blues.
If I'm at a party and someone puts on a Blues Brothers tape, I tend to go nuts.
I was a late bloomer, but I realised that people really liked it when I played blues scales and, with the piano, I had that insatiable need to prove myself.
Charlie Patton, who was born in 1891, recorded some of the very first blues. In 'Pony Blues' and 'Peavine Blues,' he manages to pile dense layers of rhythms one upon the other.
The blues style - moody or rollicking or boastful or bashful - developed in the Delta around 1900 and was, for a time, exclusively African-American. That isn't the case anymore.
I saw 'Mahogany' and 'Lady Sings the Blues' when I was little and thought, 'That's what I want to do.'
I don't need the credits for playing the blues and paying the dues. I've already done it. There are some other things to do here - movies and scores and voice-overs.
As a youngster, my parents made me aware that all that was from the African Diaspora belonged to me. So I came in with Caribbean music, African music, Latin music, gospel music and blues.
The blues is played everywhere. There's no place I've been where they don't have blues or aren't interested in blues.
I base myself in African-derived music. Blues is one of the modern forms of African music.
Should the Moody Blues be in the Rock and Roll Hall of Fame? That's absurd. Of course they should be.
My roots are in everything from doo-wop and blues to the Four Freshman and the Beach Boys and jazz and electronica. But it was put together in a deceptively simple package.
Lorne finally said, Do the Blues Brothers thing. The response was amazing. People went nuts.
My favorite moment of the whole thing was when John Belushi suggested that I get a hold of all the blues records I could so I could research the music.
There were times I thought I was going to turn to the blues, but then I'd hear better blues players.
I'm sort of East Coast, so I like the off-white and the navy blues and the low-key preppy kind of thing.
We played, jazz, blues, dixie, and it all came from the church. When I went to church, I would see the sisters and brothers doing the same beat.
The blues is so expressive - nostalgic but not sentimental, mournful but not pathetic, so humble and close to the earth. It's a nuance-filled thing.
We are trying to prove that the blues lives on forever and anybody in this place can sing the blues.
There was a time we decided that it was songs that were done especially from my background because of the things we were dealing with, but nowadays, anybody who has a need, and can find the need, they can sing the blues.
But of course it's different now, the blues is no longer blues, it's green now.
The third note in a chord is what depicts whether it's major or minor. Rhythm and Blues hardly ever uses it because it means that the melody is free to move between major and minor because you're not clashing with the third being depicted one way or the other.
There's a musicologist named Peter van der Merwe whose theory is that the blues generates tune families, and that their similarity to each other is in fact part of the pleasure you take in them - rather than the differentiation in which Jerome Kern and George Gershwin indulged to great effect.
All the blues greats took chances and developed their own style. They didn't copy.
'Post 9/11 Blues' is an observational satire about the surreal circus of fear at that time. It's a generational thing.
Our repertoire consisted of rhythm and blues, sort of country rhythm and blues, Sonny Terry things.
My form of rebellion was starting to play guitar. I was 13. The first song I played was 'Lovesick Blues' by Hank Williams.
It was so much fun to do, play the blues and then play a Monkees' set on the same night.
Shoe Suede Blues is ten years old this year. The Band consists of four members.
The blues brings you back into the fold. The blues isn't about the blues, it's about we have all had the blues and we are all in this together.
When The Who first started, we were playing blues, and I dug the blues and I knew what I was supposed to be playing, but I couldn't play it. I couldn't get it out. I knew what I had to play; it was in my head. I could hear the notes in my head, but I couldn't get them out on the guitar.
The instrumental stuff is a good challenge, and it keeps my fingers athletically tuned, but I'm totally happy to bang away on some chords, sing some harmonies and play some wailing blues solos after the second chorus.
It's so satisfying as a guitar player to play stuff that's related to the blues.
As much as I liked the build-up to Christmas, the week after always socked me with the blues.
I was real into Devo, Pavement, Captain Beefheart, and the Jon Spencer Blues Explosion.
Nobody can tell you how the blues feel unless they have the blues. We all take it differently.
I used to listen to country and western and blues, John Lee Hooker, spirituals, the Bluegrass Boys, and Eddie Arnold. There was a radio station that come on everyday with country, spirituals, and the blues.
My dad actually taught me how to play piano. I was classically trained, but I've started to branch off a little bit into blues and jazz. That's my new thing.
It's a blue album, but it's not a blues album. I'm not pretending all of a sudden now I'm blues.
My template for most songs is 'Is this inspiring?' and with the blues it so often is.
The blues are like the fugue in 18th century. It's probably the music that belongs most to our time.
We didn't go for music that sounded like blues, or jazz, or rock, or Led Zeppelin, or Rolling Stones. We didn't want to be like any of the other bands.
They're great players. I'm not a Blues Traveler fan, though. I get it, but it's not for me.
I kind of got really, really into 'Hill Street Blues' when it came out. I used to leave a class early just to make sure I could watch the episode of 'Hill Street Blues' that day.
My idea of heaven is a place where the Tyne meets the Delta, where folk music meets the blues.
I tend to play a lot of blues things at home, because most blues things are basically within a 12-bar pattern.
The blues singers were talking about everyday life, and they pushed a button.
But I did that, and I created another blues scene, another something I can sing about.
The blues is the foundation, and it's got to carry the top. The other part of the scene, the rock 'n' roll and the jazz, are the walls of the blues.
Before I left, I opened a lot of doors for a lot of people to play the blues.
With my little band, I did everything they did with a big band. I made the blues jump.
If you like rock and roll, if you like rhythm and blues, if you like jazz, if you like hip-hop, you might be black-ish.
Popular music has always been rooted in the blues, whether it's Adele or Led Zeppelin or Sam Cooke. It's just the beat that changes.
My style of singing is very much Latin jazz meets Latin and a little bit of rhythm and blues. When I do ballads, my fans love it. They want to listen to my classics. They want to party.
I used to listen to the radio, and when I was about 18 years old, B.B. King was a disc jockey and he had a radio program, 15 minutes a day, over in West Memphis, Arkansas, and he would play the blues.
I was in a rock band; I was my own folk singer; I was in a death metal band for a very short time; I was in a cover band, a jazz band, a blues band. I was in a gospel choir.
I didn't want to go out and change anything. I just wanted to make the music that was part of my background, which was rock and blues and hip-hop.
As a comedian, you're kind of like a blues musician; you have to live a little bit.
I go to Spain a lot, in winter, for a blast of sunlight to banish the blues brought on by the Irish greys and drizzle. I love the cities of the Spanish interior.
From the spiritual came the blues, gospel, and rhythm-and-blues. I heard all of that music growing up, and that has influenced how I approached classical music. I'm sure of it.
I didn't get into music to become a blues musician, or a country musician. I'm a singer-songwriter. In my book that means I get to do whatever I want.
When I began my career, I was constantly referred to as the kid who could play the blues.
I think I'm more influenced, just in general, not by blues artists, but more by stuff from Curtis Mayfield, Stevie Wonder. Stevie Wonder is probably my biggest musical influence of all. And Donny Hathaway.
When I was sixteen, I wrote the first hundred or so pages of a novel about a piano that was haunted by the ghost of an evil blues musician.
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