A Quote by Alexis Korner

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. — © Alexis Korner
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.
When the first record came out, I'd go down to radio stations pretty much every day to get the record played, and I would walk in and they'd tell us how much they loved the record, but they weren't sure how much they could play it because they were already playing a girl.
I wanted to make a reggaeton record. So I sent the record to Ozuna, and he killed it. Then I felt like I wanted to add a more female vibe but still keep some Spanish touch, so I asked Selena and Cardi, and it all came together.
When I came back to California in the early '60s I was hanging out with Jimmy Bowen, Phil Spector, and I wanted to be a record producer and work with other artists.
I wrote half the record in 2002, which basically concluded with us releasing "Baby's Got A Temper," the last single. I think after the disappointment of that record for myself with the lack of energy and the way the record came out, I would say that was probably the low point of The Prodigy.
I wanted out of my record deal with EMI. They wanted me to record one type of album; I wanted to record the type of music I wanted to make.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
If I'm going to do blues, it's going to be a typical Jimmy Rushing record.
What I say on a record and what I say off a record is two different things. And that's always been the case. There's a difference between confidence on a record and arrogance.
James Cotton is a real blues guy, and he played with Muddy Waters, and it surprised me that they would want me to make a record with them, that he called me to do this record. I'd never done anything like that before. But I love blues, so I was very happy.
I was the youngest producer to have a No. 1 record when Kris Kross first came out, and that was a record I held for I don't know how long.
I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
I wanted so badly to play in the park across the street because the kids were playing baseball and football but I had to record.
I wanna record these girls individually. And then, I wanna cut a blues album on me. But all of it, original stuff, you know. When I listen to the blues today, it's like they all sounds similar. I wanna do something different, to try to add to the blues flavor.
Far Behind' is a single from Candlebox's self-titled record from 1993. The record came out on Madonna's Maverick imprint and went quadruple platinum, regardless of how much it sucked.
The first record I bought was a Carl Perkins record, because I saw him at The Festival at Sandpoint, Idaho. I loved Elvis and I found out that he wrote 'Blue Suede Shoes'... so connecting that experience of going to see him play was pretty awesome. That's when I realised I wanted to play guitar.
I try to bring it across on my record, in my dress, in what I do and what I say because to me humor is important. You should have a dose of that and I guess giving it is what I'm here for.
This site uses cookies to ensure you get the best experience. More info...
Got it!