Blues Quotes
Most Famous Blues Quotes of All Time!
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Justin Hayward was a teenager when he was drafted into the Moody Blues in 1966. He brought with him one song he had written for his girlfriend. This was called 'Nights in White Satin,' which subsequently made a fortune for a lot of people.
The podcast 'A History of Jazz' began telling its story in February - 100 years after the recording of 'Livery Stable Blues' by the Original Dixieland Jazz Band, the start of jazz as a legitimate branch of music.
I am a lover of all sorts of different music. I love blues and every piece of music that I have listened to has become an influence.
Blues ain't never going anywhere. It can get slow, but it ain't going nowhere.
I seen a lot of changes. You got to make changes. I even make changes in my blues.
I started playing bluegrass with my family, so there were the G, C and D chords. I was playing a Martin acoustic because that's what Carter Stanley of the Stanley Brothers played. Then I got into the really raw blues of Hound Dog Taylor and started on electric guitar.
I learned jazz; that comes from blues. I learned rock; that comes from blues. I learned pop; that comes from blues. Even dance, that comes from blues, with the answer-and-response.
Of course, there are a lot of ways you can treat the blues, but it will still be the blues.
I'm a blues guy at heart, so silly music isn't generally what I do. I'm a I'll-cry-as-my-guitar-gently-weeps kind of guy.
I listen to all kinds of music myself; it can range from practically anything: Opera, Jazz, to Blues, good Pop, just about anything.
Having pop sensibilities from my past and also being a lead blues and sort of rock guitarist allowed me to bring that kind of beachy rock groove.
I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
My heroes were gospel blues players like Blind Willie Johnson, Charley Patton, and Sister Rosetta Tharpe, not whoever was number one.
I've always been a fan of Buddy Guy as a guitarist, as well as Stevie Ray Vaughan and those blues guys. I'd say those are pretty big influences on me.
From folk to tribal to Cab Calloway, Cole Porter, Gershwin to the Rolling Stones, whose first record was all covers, to country-western, bebop, blues, and even the referencing in classic hip hop to cliched love ballads of the '80s or whatever - that is kinda gone, and that's just terrifying to me.
We were either listening to jazz or Robert Johnson, the old blues man, but not to our peers.
Blues Traveler is hot, and Big Head Todd, the Screamin' Cheetah Wheelies - all of 'em.
Logically, when you talkin' about folk music and blues, you find out it's music of just plain people.
I didn't have to be a pop singer with a certain look. When I started, there was really a revolution in natural artists with blues and folk artists crossing over; otherwise, I wouldn't have been able to get started.
There's a very thin line between rock and funk. Funk is like a dirtier blues, and so is rock. They're close cousins.
The blues is something separate from what I do. They connect at certain spots, but blues is different. I wouldn't put it in with what my career has been. That would be a whole separate wing.
I'm obsessed with Norah Jones and Amy Winehouse, Etta James. I'm really into blues and R&B type of stuff, '90s hip-hop; that's my jam.
I'll listen to anything authentic whether it's bluegrass or gospel or blues.
While the House of Blues slogan has been 'In blues we trust,' its stages are usually filled with more reliable moneymakers - Neil Diamond and A Tribe Called Quest among them.
I've grown up on gospel and blues music, and now it's a huge part of who I am.
I grew up with a heavy diet of gospel, folk, and blues because those are kind of the cornerstones of traditional American music.
I've been married twice. Most women would rather not be married to a traveling blues singer.
I don't try to just be a blues singer - I try to be an entertainer. That has kept me going.
Blues is a tonic for whatever ails you. I could play the blues and then not be blue anymore.
I've always tried to defend the idea that the blues doesn't have to be sung by a person who comes from Mississippi, as I did.
My influences have been what I call my four Bs - the primary one being the blues, then Borges, Baraka, and Bearden.
Blues is the bedrock of everything I do. All the characters in my plays, their ideas and attitudes, the stance they adopt in the world, are all ideas and attitudes that are expressed in the blues.
I grew up listening to blues and rock n' roll and other music, but, legitimately, the Stones is one of my favorite bands in the world.
From the first album, we've had songs like 'The Jack' that are blues based. We also did it in 'Ride On,' where we went into the blues.
I was considered as a jazz man rather than as a blues player. There were no blues players-you played one sort of jazz of another sort of jazz.
In 1940 I came across a record by Jimmy Yancey. I can't say how important that record is. From then on, all I wanted to do was play the blues.
The parallel development in American blues to the British movement has resulted in Johnny Winters.
Winter blues are cured every time with a potato gratin paired with a roast chicken.
Growing up, I listened to a lot of jazz and blues records - John Coltrane and Etta James. I was also really into Radiohead and the BeeGees.
When the Negro musician or dancer swings the blues, he is fulfilling the same fundamental existential requirement that determines the mission of the poet, the priest and the medicine man.
The blues is not the creation of a crushed-spirited people. It is the product of a forward-looking, upward-striving people.
A jazz tune, melody, or composition is usually based on either a traditional twelve-bar, eight-bar, or four-bar blues chorus or on the thirty-two-bar chorus of the American popular song.
Blues means what milk does to a baby. Blues is what the spirit is to the minister. We sing the blues because our hearts have been hurt, our souls have been disturbed.
The British ballads became a new kind of form in their hand. And out of them came the blues, a new kind of song of commentary and satire, a song form which, after all, has become the main musical form of the whole human species.
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