Blues Quotes
Most Famous Blues Quotes of All Time!
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I am very excited to be here in Wales and look forward to putting on the Cardiff Blues shirt.
When I'd hear something that sounded like I could follow it - most of those big band jazz tunes are blues anyway - I would hum it and play with the fiddle while I was humming.
Once you start collecting records you learn more and more about jazz and blues.
You can go to Europe, and there's no turnin' back - any parts of Europe. Wherever you are, there is no stop and go for the blues. The blues go but it don't stop.
The way Will Moore taught me, and the way I play it, the blues is just something different.
If they played more blues, people would just get it - they try to hold it back but just about can't hold it back now because the blues is really going.
I love most melodic music - classical, reggae, big band, jazz, blues, country, pop, swing, folk.
After 'The Blues Brothers,' I wanted to do a good musical number with real dancers and shoot it correctly.
Well, I don't know how they define that. But they have this Texas blues thing blown kinda out of proportion. I am a Long John Hunter blues, before and after, that's what I am.
Then I started checking out blues albums from the library and playing the harp along with them.
I want to do a romantic comedy that nobody thought I could do. And then do a comedy with Dan Aykroyd that is totally different from 'The Blues Brothers.' I'm a comic actor, but I'm an actor, too.
I grew up listening to Barney Kessel and Wes Montgomery, Kenny Burrell, guys with blues backgrounds.
I was a big Pretty Purdie fan. I have heavy rhythm and blues influences, and that is what I bring to the table with Aerosmith.
AC/DC is a prime example of taking that blues rock thing and just living in that world. They only really move the furniture around a little on each album, but it still works.
There's a difference between the blues of the New Orleans guys and anyone else and the difference is in a chord, but I can't figure the name of it. It's a different chord, and they all make it.
The blues tells a story in itself. It can make you happy or give you a feeling to swing.
I think it was that we were really seasoned musicians. We had serious roots that spanned different cultures, obviously the blues.
See, that's nothing but blues, that's all I'm singing about. It's today's blues.
It was the early days of Rock 'n' Roll in this country. We were all struggling to learn music, it might be Country, Jazz, Classical, Blues or even Rock 'n' Roll.
Irving Berlin was the greatest songwriter of all time. I was in awe of him. But his music wasn't my music. My music was the blues.
I'm not committed to putting myself up for a blues guitarist, even though I love playing the blues.
My family was a Christian family. But I had to get to Kansas to play the blues.
I had listened to Joe Turner. When they'd book Joe there, I'd play the blues behind him.
So, maybe you don't see blues so much in Styx's music but it is definitely part of Tommy's early music.
It is from the blues that all that may be called American music derives its most distinctive character.
Blues, rock and hip hop are more about a lifestyle and culture than notes on a page.
I've purposely made my music to be challenging and different. There's some electronics, R&B, blues, Motown, country, jazz and lots of soul.
When I picked up my guitar, I spent the first day learning the chord E, the second day A, then B7, and all of a sudden, I could play the blues.
My musical education was grounded in blues and Chicago blues - John Lee Hooker and Otis Redding.
I love Muddy Waters and Nina Simone. I also watched 'The Blues Brothers' movie over and over.
I've always thought Blues Point Tower is one of my best buildings and I stand by that.
You know Bakersfield was full of workers from the south, from Texas and Arkansas, and they brought their gospel and blues with them. And that's the sound I grew with.
One critic called me nothing but a blues singer, as though that was a slight. That is the highest compliment there is.
I started singing on the radio in Los Angeles. I sang blues, but I would tend toward country blues.
Every time the guys were knocked out by my guitar playing and the girls were knocked out by the type of songs I did. That set us apart from the average blues band.
To me, Sabbath was always JUSt a really heavy blues band. That s all we were. We just took those blues roots and made them heavier.
I was never really that interested in the punk movement. I was a blues guy: I liked Motown, James Brown.
For a black male, the sound of the blues is pre-Civil Rights. It's oppression.
When I was growing up, I would go hang out with older guys at night in blues clubs.
When I was young, I wanted to be the greatest blues singer of all time. I wrecked my education and left home for it.
Most of the songs I sing have that blues feeling in it. They have that sorry feeling. And I don't know what I'm sorry about. I don't.
And as I started reaching deeper I realized that most of the blues of that day was done by men. Women just didn't have the nerve.
The basis of everything that I plugged into when I was younger was blues, and it always stayed with me.
It was stumbling on to really the bible of the blues, you know, and a very powerful drug to be introduced to us and I absorbed it totally, and it changed my complete outlook on music.
The blues are what I've turned to, what has given me inspiration and relief in all the trials of my life.
I listened to King Oliver and I listened to Louis Armstrong, Jelly Roll Morton, Thelonious Monk, Charles Mingus, John Coltrane, Archie Shepp... I listened to everything I could that came from that place that they call the blues but, in formality, isn't necessarily the blues.
I'm very fortunate that I really like acting, but it's not all I want to do. I love to sing. I love blues. I love jazz.
As far as I'm concerned, blues and jazz are the great American contributions to music.
I believe that blues and jazz are the two uniquely American contributions into music.
I go out with my band six months of the year and the rest of them with the Blues Brothers.
Most people say, 'Well, Earl, you sing the blues,' or however they want to categorize it. I just sing songs.
Actually, my mother turned me on to the blues. We had Lightnin' Hopkins as well as Elvis Presley records.
Any nobody from the folk blues world could avoid being influenced by Woody Guthrie, who is actually of Scottish-Irish ancestry.
Linda's in all the songs. 'Sunshine Superman,' 'Hampstead Incident,' 'Young Girl Blues'... Linda's the muse.
I was listening to a lot of bebop. And to Miles Davis. Everyone thinks I was just in the folk world in 1966, but in 1963 and 1964, I was absorbing enormous amounts of music, from baroque to jazz to blues to Indian music.
There's a lot of unreleased blues stuff I did with the Apollo Theater musicians, and there was of experimenting going on for me in the mid-'60s in that studio, which I think frustrated Columbia.
The form of the blues helps us express our joys, our fears, our - anything you want to express. And it helps you get it out instead of it spiraling inward, and you're getting twisted up and exploding. So it's a bit of salvation.
I was lucky enough to get to see guys like Bugs Henderson, Jimmy Wallace, all those great Texas blues players.
I'm not a super blues player, but I was exposed to the Texas blues sound while I was growing up, and that definitely rubbed off on me.
Man, don't get me started on Pat Travers. That dude writes killer blues rock and roll riffs.
Play the pentatonic blues scale, just for fret- and pick-hand dexterity and to mesh them both together.
I began writing with Mike Pinder and eventually we went on to form a new band called The M&B, which later became The Moody Blues, what I would call a progressive blues band.
The Moody Blues were a blues band, so when we got discovered, we were taken to London. That's where we started to make it. That's where the record labels were. That's where the action was.
The Moody Blues was very big in France, because they liked that we were basically playing blues.
I was part of that whole early Moody Blues transitioning from a sort of R&B-blues band to being more progressive.
I was doing something of my own after I left The Moody Blues, I went away, lived in Spain for a while.
Paul and I were friends, the Moody Blues toured with the Beatles on the second British tour. That developed into me working with Paul, whom I always admired.
Everyone tried to be a singer other than just a player. We had four voices in The Moody Blues.
I knew Paul when he was in the Beatles. We did the second Beatles British tour with the Moody Blues. And we became friends. I went to a couple of the sessions for the 'Sgt. Pepper' album, we went to parties together, we went to see Jimi Hendrix together.
In the sixties when Paul was with the Beatles and I was with the Moody Blues, we shared the same bill and tried to blow each other off the stage.
I didn't really grow up listening to blues, because I grew up in the Northwest. It wasn't really the center for blues.
I think we as a band, as individuals, understand that all popular music stems from blues and jazz and even pop, but rock 'n' roll especially comes from blues.
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