Quotes About Blues

I have heartaches, I have blues. No matter what you got, the blues is there. 'Cause that's all I know - the blues. And I can sing the blues so deep until you can have this room full of money and I can give you the blues.

I think that the blues is in everything, so it's not possible to neglect it. You hear somebody go 'Ooh ooh oooh,' and that's the blues. You hear a rock n' roll song. That's the blues. Somebody playing a guitar solo? They're playing the blues.

After my early days of being a passionate young Elvis fan, Chuck Berry, Little Richard, etc. I got interested in Ray Charles and Ella Fitzgerald. Then I got turned on to the blues. I realized how important it was to our music in England at the time. Everyone was into the blues. Then you start looking at the different kinds of blues, and you follow the journey backwards from Chicago to earlier times back down to the Delta to the Memphis Blues.

We're blues people. And blues never lets tragedy have the last word.

The blues will always be because the blues are the roots of all American music.

I tend to play a lot of blues things at home, because most blues things are basically within a 12-bar pattern.

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've known people that was a part of a family and always feel that the family liked everyone else but them. That hurts, and that's as deep a hurt as you can possibly get. I've known people that would have problems with their love life. This is kind of how blues began - out of feeling misused, mistreated. Feeling like they had nobody to turn to. Blues don't necessarily have to be sung by a person that came from Mississippi as I did, because there are people having problems all over the world.

It's never hard to sing the blues. Everyone in the world has the blues . . .

Since I was a kid, I've had an absolute obsession with particular kinds of American music. Mississippi Delta blues of the Thirties, Chicago blues of the Fifties, West Coast music of the mid-Sixties - but I'd never really touched on dark Americana.

The blues is like this. You lay down some night and you turn from one side of the bed to the other: all night long. It's not too cold in that bed, and it ain't too hot. But what's the matter? The blues has got you.

I am so weak over love and heartbreak. My music is rhythm and blues and with that said, the blues element of it is a major portion. I feel like it has been lost in R&B and a lot of people are scared to talk about their vulnerabilities and insecurities. They want to keep it up and in the club.

I am more of a rock guy than I am a blues guy. People get the idea that I am a dyed in the wool blues cat, but I rock out when I do my show you know that.

When I wrote the song, I had the sea near Bombay in mind. We stayed at a hotel by the sea, and the fishermen come up at five in the morning and they were all chanting. And we went on the beach and we got chased by a mad dog-big as a donkey. ... I think that songwriting changed when groups started spending more time in the studio. ... I've written so many songs about Englishmen, I have to go elsewhere. ... Our repertoire consisted of rhythm and blues, sort of country rhythm and blues, Sonny Terry things.

I listen to a lot of Chicago blues, I suppose. It reminds me of growing up, I guess. But I'm also obsessed by close-harmony groups. Actually, I'm fascinated particularly by brother duos, how they blend together. The Everly Brothers, the Stanley Brothers, The McQuarrys. There's something inherently magical about harmony.

This is something I think that blues music, or folk music, and all those particular genres that have a perspective about life deal with - where the difficulties of life are seen as something that are very natural and nothing to be embarrassed about, and something that we all go through; something that's part of our share of humanity. And it accepts those difficulties and pain as such. I think there's a wonderful forgiveness that can come over you, if you have that perspective on it.

When the slaves left Africa, they left us this music. They left us blues.

I was playing organ at a silent movie house at Harlem and they'd be showing some death scene on the screen. Likely as not, I'd grab a bottle and start swingin' out on 'Squeeze Me' or 'Royal Garden Blues'. The managers complained but, heck, they couldn't stop me!

When I began my career, I was constantly referred to as the kid who could play the blues.

It was just like Howlin' Wolf. Once you arrive at the point that you understand it, the emotional factor is darker than some of the saddest blues stuff.

So from Jazz, Blues, R&B, Soul, Classical and Country music, Hip Hop has introduced us to a little bit of everything.

I've been singing my whole life, since I was a kid; but never formally as a career. I did it in plays when I was younger, and I sang all styles of music: everything from Italian opera to blues.

To me, country music is like the blues, but it's something very hip and - I don't want to say commercial - but it's very worldly and good listening.

There was nobody at the time who was playing slide guitar like Johnny, and nobody, or no white guys at least, that was playing country blues like that on the acoustic guitar. And it was at that point that I realized what Johnny had to offer.

In this country, particularly, actually in times that are difficult, or from corners of America where you least expect it, unbelievable pure creativity has welled up. Generally because of the cross-fertilization... a Scott Joplin tune becomes jazz, becomes blues, and becomes rock 'n' roll.

When the sweet talkin's done, a man is a two face, a worrisome thing who'll leave you to sing the blues in the night.

The blues ain't nothing but a good man feelin' bad.

'Tailgate Blues' is kind of a lyrical masterpiece of a country song.

African American music can't happen in Germany or in Italy or in Mumbai. If America disappeared off the face of the Earth today, the greatest single cultural loss would be blues, jazz, hip-hop, R&B, rock-and-roll.

A lot of blues guitarists play with only three fingers, and they can't figure out certain runs that require the use of their little fingers. Classical training is good for that.

When you look at so much of what we all love, there's either soul-based to it, or it's the blues. It's really the beginnings of any kind of music. It really is; it all starts there. Because after that, it's music of the moment.

Sounds like the blues are composed of feeling, finesse, and fear.

Shoe Suede Blues is ten years old this year. The Band consists of four members.

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

What originally established the band was cover songs like Not Fade Away. Then, later on, we got more well-known ones like Satisfaction, which you might say echoed the thinking of, well, any generation you care to name, including the present one. But we didn't set out on bits of paper that we were going to be the voice of a generation. The original aim of the Rolling Stones was to play blues. It wasn't even to play rock music.

If you've got bad news, you want to kick them blues, cocaine.

Rock'n'roll is nothing but Boogie Woogie with stuff on top of it. And if you're black, they name it rhythm'n'blues, and if you're white, they name it rock'n'roll. So, I don't give a... You know.

After 'The Blues Brothers,' I wanted to do a good musical number with real dancers and shoot it correctly.

When you are through with the blues, you've got nothing to rest on.

Up north, you could find these radio stations with no name on the dials that played pre-rock 'n' roll things - country blues. We would hear Slim Harpo or Lightnin' Slim and gospel groups, the Dixie Hummingbirds, the Five Blind Boys of Alabama. I was so far north, I didn't even know where Alabama was.

Basically my influences have been American influences. It's been blues, gospel, swing era music, bebop music, Broadway show music, classical music.

I loved music from the age of eight. Jazz and blues. But also Little Richard and Elvis Presley.

If a slave were to raise his voice to his master, he risked all manner of punishment. Yet what was possible in many circumstances was to lift one's voice in song. This was a major ingredient in what is now known as blues and gospel. Slaves may have been regarded as subhuman by their cruel captors, but through music, they were proud and dignified.

When I was a kid I really liked the guitarist of The Doors [Robby Krieger]. He plays blues, but he plays a lot of melodic things. He plays scales that are kind of unusual, and some bent notes.

My influences have been what I call my four Bs - the primary one being the blues, then Borges, Baraka, and Bearden.

The main three components are the blues, improvisation - which is some kind of element that people are trying to make it up - and swing, which means even though they're making up music, they're trying to make it up together. It feels great, like you're having a great conversation with somebody.

I think every once in a while country has lost its way, but found its way back. It's always going to drift away from the traditional side, but then find a way to return. There's room for all kinds of influences be it pop, blues, gospel or whatever. But I will always say that I think we need more traditional country music coming down the pike.

Ive always found a cure for the blues is wandering into something unknown, and resting there, before coming back to whatever weight you were carrying.