Quotes About Blues

Nowadays blues in particular has a wide, wide, wide, wide net of everything that's called blues. I think if somebody's coming to it in the last ten years or whatever, or even fifteen years, what their experience is what is called blues is different from mine. I have to expand my range of what's been called the blues. I think somebody who's new to it would have to go back and to see what is called blues now, where it came from. If that makes sense.

I don't remember any impression [from blues].The blues was just everywhere in the Mississippi Delta. It was mostly black sharecroppers living there, and there was a lot of blues around. Sometimes the guys would sing the blues in the fields, working.

People think the blues is sad. They hear people moaning and such. That's not the blues. That's just somebody singing slow...The blues is about truth-telling.

The blues are the roots and the other musics are the fruits. It's better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues.

I think blues music is music of the soul. Of course, there are other forms. You could call some classical music blues music in that way.

The amazing thing about Sweets [Edison] was that he exactly spoke the way that he played! He was really unique, the one and only. He was one of the greatest Blues players that I ever heard and played with. Nobody can play like Sweets man, nobody! Most of us, musicians, frequently quote Sweets' phrases in our solos. Like Lester Young, Sweets had a big influence on us musicians, especially when we play some Blues.

I didn't really grow up listening to blues, because I grew up in the Northwest. It wasn't really the center for blues.

The blues echoes right through into soul, R&B and hip hop. It's part of the make-up of modern music. You can't turn your back on the blues.

The blues is always there. It's going to be hard out here, but it's all right. It's all right, and that's what the blues teaches you. You got to roll with the punches and find your equilibrium.

I spent a few years here in Memphis, in the late '70s and early '80s, where I was studying a lot of country blues players and their styles. So it seems like every record I'll do, I will appropriate these blues styles that I remember.

When you think of blues, all you think about is crying guitar like B.B. King's guitar. You think about someone crying that their woman's gone. And how bad life is and all that. Why can't it be something happy with the blues? Why can't it have a hip-hop beat to which you can do the dances of today?

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.

Gary Burnetts office is shelved with theological books, guitars fill the floor, and the drawers are crammed with CDs. In The Gospel According to the Blues, Gary brings his vocation as a New Testament teacher together with his passion for the blues and gives the reader scholarly knowledge and wise insight.

I had the one thing you need to be a blues singer, I was born with the blues.

I didn't get into music to become a blues musician, or a country musician. I'm a singer-songwrit er. In my book that means I get to do whatever I want.

But you know it's hard to tell When you're in the spell if it's wrong or if it's real But you're bound to lose If you let the blues get you scared to feel

Spring is the fresh green of young corn and the pink blush of blossoms. Autumn contrasts the yellowed foilage with violet hues. Winter is the white of snow against its black forms ... Summer is the contrast of blues and the golden bronze of the corn.

Blues had the pulse beat of the people who keep on going.

Elvis Presley's death deprives our country of a part of itself. He was unique, irreplaceable. More than twenty years ago, he burst upon the scene with an impact that was unprecedented and will probably never be equaled. His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense. And he was a symbol to people the world over of the vitality, rebelliousness and good humor of this country.

The paintings that laughed at him merrily from the walls were like nothing he had ever seen or dreamed of. Gone were the flat, thin surfaces. Gone was the sentimental sobriety. Gone was the brown gravy in which Europe had been bathing its pictures for centuries. Here were pictures riotously mad with the sun. With light and air and throbbing vivacity. Paintings of ballet girls backstage, done in primitive reds, greens, and blues thrown next to each other irreverantly. He looked at the signature. Degas.

Jazz is like blues with a shot of heroin!

Out of the night you burn, Manhattan, In a vesture of gold-- Spun of innumerable arcs, Flaring and multiplying-- Gold at the uttermost circles fading Into the tenderest hint of jade, Or fusing in tremulous twilight blues, Robing the far-flung offices, Scintillant-storied, forking flame, Or soaring to luminous amethyst Over the steeples aureoled.

I don't know if it's cool to say this anymore, but I grew up listening to Gary Glitter. A majority of his songs were in that shuffle-blues beat, and I think that's probably why I tend to write like that.

I think if it wasn't for the blues, there wouldn't be no jazz.

I was born in love with music. My mother is a singer, many of my aunts and uncles on my mother's side are musical, my grandparents sang and played blues piano. It's literally in my blood. My mother wrote an original song to teach me the days of the week.

When I was first writing about Japan, it was at the peak of the Bubble. Bubble popped, but they kept on going. Japanese street style feeds American iconics back into America in somewhat the way English rock once fed American blues back into America.

As far as I'm concerned, blues and jazz are the great American contributions to music.

Warm evenings, pale mornings, bottle of blues

Most of the music I've become interested in is hybrid in its originsClassical music, of course, is unbelievably hybrid. Jazz is an obvious amalgam. Bluegrass comes from eighteenth-century Scottish and Irish folk music that made contact with the blues. By exploring music, you're exploring everything.

The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric's vocals. There's never any real problem fitting guitar and organ together.

No... the blues are because you're getting fat or because it's been raining too long. You're just sad, that's all. The mean reds are horrible. Suddenly you're afraid and you don't know what you're afraid of. Do you ever get that feeling?

I went back to Belfast and started a club, the Maritime. No one had thought about doing a blues club, so I was the first.

It's a losing proposition, but one you can't refuse. It's the politics of contraband, it's the smuggler's blues.

I'm an Australian, and when I grew up much of my influences were American - blues music and country music, all that sort of thing.

If I want to take a particular form of blues somewhere else I have the equipment to do it but I never even thought of it.

I've always felt that blues, rock 'n' roll and country are just about a beat apart.

We had a missionary zeal about blues music, and I felt, particularly, that Mickie Most was attempting to homogenize, sweeten, and make it accessible for the mass market. Which is understandable if you're the producer, but aggravating if you're the artist.

Some thoughts went through my head about recording some stuff that had influenced me earlier in my career like blues and early rock. But it didn't seem to really make sense at that point - it might have been taken the wrong way. A lot of people already had been into that trip.

An eighty-nine year old kid from Boston playing a blues in New Orleans takes a lot of chutzpah.

My first car was a 1976 Toyota Corolla Liftback in red, like the one in 'The Blues Brothers.' I painted a Union Jack on the roof. I was absolutely in love with it until I destroyed it, which broke my heart!

My people have very subtle slang, inflections and ways of saying things that has little to do with words. If you're from the same place, you'll feel the jargon and know exactly what's happening. Same with any neighborhood cat. What he sees and hears and feels and lives makes him what he is. That's what blues is.

So, maybe you don't see blues so much in Styx's music but it is definitely part of Tommy's early music.

Mona Lisa must have had the highway blues; you can tell by the way she smiles.

The next thing I knew, I was out of the service and making movies again. My first picture was called, GI Blues. I thought I was still in the army.

Actor Mike Warren [was my former teammate], who was in Hill Street Blues. There are more, but it's starting to sound like a team reunion at Red Lobster. They were a great bunch of guys and we accomplished a lot together. That's something you don't forget.

He's written some great songs. I thought that "Blues Man" was a perfect song for me to do as a tribute.

If you want to be a good blues singer, people are going to be down on you, so dress like you're going to the bank to borrow money.

The Progressive Blues Experiment, Johnny Winter... and Still Alive and Well is my favorite rock record