A Quote by Bobby Keys

It doesn't matter how many times I've played 'Brown Sugar', I never get tired of playing it. — © Bobby Keys
It doesn't matter how many times I've played 'Brown Sugar', I never get tired of playing it.
It doesn't matter how many times you fail. It doesn't matter how many times you almost get it right. No-one is going to know or care about your failures, and neither should you. All you have to do is learn from them and those around you. All that matters in business is that you get it right once. Then everyone can tell you how lucky you are.
You have to always continue to strive no matter how hard things get, no matter how troubled you feel. No matter how tough things get, no matter how many times you lose, you keep trying to win.
I guess another message I'd like to say with this book is no matter how many times you fail... I failed a lot of times trying to get clean, and never thought I'd get to this point.
It doesn't matter how many times you get knocked down. The only thing that matters is how many times you get up.
It was like watching a movie being played on the blank screen of his mind; the only difference was that he did not get bored, no matter how many times he watched it.
I always enjoyed playing ball, and it didn't matter to me whether I played with white kids or black. I never understood why an issue was made of who I played with, and I never felt comfortable, when I grew up, telling other people how to act.
I always enjoyed playing ball, and it didn't matter to me whether I played with white kids or black. I never understood why an issue was made of who I played with, and I never felt comfortable, when I grew up, telling other people how to act
It does not matter how many times you get knocked down, but how many times you get up.
I did do a local musical, 'Bubblin' Brown Sugar.' I played the young Sweet Georgia Brown. I was 13 years old. After that, I just decided that I had to pick one thing, acting or singing, and concentrate on that.
Sometimes you get tired of riding in taxicabs the same way you get tired riding in elevators. All of a sudden, you have to walk, no matter how far or how high up.
When I first played New York, it was with James Brown at the Apollo, and I was playing in a band under the name The Valentinos. I remember Sam Cooke saying, 'I want you to go in there with James Brown. I couldn't be as hard on you as James Brown would be.' But we came out marching like soldiers.
I had a niche. And my niche was that I was brown. So it's like, 'Great, I get to go up for all these 'brown parts.'' I call them 'brown parts' because that's what they are. That's not to be resentful, because I loved playing those parts - I got to meet so many cool actors.
I think if you don't like being in your skin, it doesn't matter how many times people say you're beautiful, how many jobs you get, or whatever it is - I just didn't want to be Adwoa.
Toward the end of the Olympics, you get physically tired and drained. And no matter how much rest you have, your body is tired.
How many times have I failed before? How many times have I stood here like this, in front of my own image, in front of my own person, trying to convince him not to be scared, to go on, to get out of this rut? How many times before I finally convince myself, how many private, erasable deaths will I need to die, how may self-murders is it going to take, how many times will I have to destroy myself before I learn, before I understand?
When I started playing, I played in R&B bands. I played James Brown, Wilson Pickett, Otis Redding and all that.
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