A Quote by Billy Higgins

If somebody would come and they're not playing music, they would encounter certain people on another level. — © Billy Higgins
If somebody would come and they're not playing music, they would encounter certain people on another level.
We were very rich culturally. One Sunday each month, we would do this thing called Chamber Pots at somebody's house. A classical music group would come over and we'd have dinner. There were thirty people - parents and kids - and we'd sit on the floor and listen to this beautiful music.
Another train will come. Why rush? Why worry? Why go crazy? Another train will come. And sure enough, another train going my way was pulling into the station. My bad mood evaporated. I entered the car smiling, certain that there would be more missed trains in my life, more closed doors in my face, but there would always be another train rumbling down the tracks in my direction.
I would sit on the street corners in my hometown of Indianola, Mississippi, and I would play. And, generally, I would start playing gospel songs. People would come by on the street - you live in Time Square, you know how they do it - they would bunch up. And they would always compliment me on gospel tunes, but they would tip me when I played blues.
That certain feeling happened to me in a big way quite often with the first King Crimson. Amazing things would happen-I mean, telepathy, qualities of energy, things that I had never experienced before with music. You can't tell whether the music is playing the musician or the musician is playing the music.
I was not a band geek, per say. But me and my two older sisters played instruments, so I would come home and my sister Dana would be playing the clarinet or playing the piano, and I would play the saxophone, my other sister would be singing, my mom would be singing. I was not afraid to be musical. That was not something that I thought was uncool.
The very funny thing about "Like A Rolling Stone" is it was a six minute song, there was no music to read from. And there I was playing this unfamiliar instrument. So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.
I think certain people would be moved to be nostalgic about America's glory days, when the music set the tone for the cultural conversation and popular musicians had this absurd level of authority.
My best friend from up the street, another really tough kid, we'd box every day after school, starting around 6th or 7th grade. We would go in the backyard, and we would slug out. We'd box until we got tired or until somebody quit. Other kids would come over, and they would want to box. Most of the time they didn't fare too well.
But I would never insult the people that love this music and I would never insult the blessing of music in my life and I would never insult myself by playing uninspired music.
I frustrate myself as a writer. There are certain things that I'll think, 'Well, that would be really fun to play... if somebody else was playing this character.'
If I have been fortunate enough to have risen to a level in this business where people would actually listen to me, then I think I have a duty to convey all truths that I encounter.
One of my pleasantest memories as a kid growing up in New Orleans was how a bunch of us kids, playing, would suddenly hear sounds. It was like a phenomenon, like the Aurora Borealis -- maybe. The sounds of men playing would be so clear, but we wouldn't be sure where they were coming from. So we'd start trotting, start running-- 'It's this way! It's this way!' -- And sometimes, after running for a while, you'd find you'd be nowhere near that music. But that music could come on you any time like that. The city was full of the sounds of music.
The animal encounter poem is now so distinct a genre that it would be possible to create a full-length anthology from deer encounter poems alone, and many varieties of experience would emerge from such an exercise.
The best results come when people believe in and feel strongly about the music they are playing. Just as composers write for certain types of performers, performers are also looking for certain things.
I didn't make music until I was about 18. I'd been playing my whole life, but I wasn't putting it out because I didn't feel like people would take it seriously. I thought people would be like, 'It's just like sad girl music - it's like Taylor Swift.'
If somebody told me people would still care about our music 25 years ago, I would have thought they were crazy.
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