A Quote by Chris Rea

My heroes were gospel blues players like Blind Willie Johnson, Charley Patton, and Sister Rosetta Tharpe, not whoever was number one. — © Chris Rea
My heroes were gospel blues players like Blind Willie Johnson, Charley Patton, and Sister Rosetta Tharpe, not whoever was number one.
I liked blues from the time my mother used to take me to church. I started to listen to gospel music, so I liked that. But I had an aunt at that time, my mother's aunt who bought records by people like Lonnie Johnson, Robert Johnson, Blind Lemon Jefferson, and a few others.
I liked blues from the time my mother used to take me to church. I started to listen to gospel music, so I liked that. But I had an aunt at that time, my mother's aunt, who bought records by people like Lonnie Johnson, Robert Johnson, Blind Lemon Jefferson and a few others.
My guitar heroes are Eric Clapton and Jeff Beck and people like that - so I've tried to make an album of Robert Johnson covers that, well, while not totally faithful for blues purists, is faithful for people like me that grew up with the '60s and the electric blues-rock versions of Johnson's songs.
I grew up listening to spiritual music, Blind Willie Johnson and folk.
Blind Willie Johnson is a pretty big vocal influence. He can be very harsh, like gargly, gruff vocals, but also just slip into some very delicate, vulnerable soft stuff. I like that combination.
Charlie Patton, who was born in 1891, recorded some of the very first blues. In 'Pony Blues' and 'Peavine Blues,' he manages to pile dense layers of rhythms one upon the other.
If I made records for my own pleasure, I would only record Charley Patton songs.
When I was a little kid wanting to play music, it was because of people like Pete Johnson, Huey Smith, Allen Toussaint, Professor Longhair, James Booker, Art Neville ... there was so many piano players I loved in New Orleans. Then there was guys from out of town that would come cut there a lot. There was so many great bebop piano players, so many great jazz piano players, so many great Latin piano players, so many great blues piano players. Some of those Afro-Cuban bands had some killer piano players. There was so many different things going on musically, and it was all of interest to me.
There's a lot of women in blues music, lots of strong women and that sort of stuff. It's not the first thing that comes to mind when you think about blues. There were a lot of powerful blues guitar players in the olden times that were women. It's just that when you think about blues, you have this one image in your mind.
There were times I thought I was going to turn to the blues, but then I'd hear better blues players.
What I consider to be the barometer for what is a rock artist and what is not, is somebody who has a certain element of blues, even a hint of soul or blues music, derivative of African-American blues, folk, spiritual, or gospel.
I think it's incredible because there were guys like (Willie) Mays and (Mickey) Mantle and Henry Aaron who were great players for ten years... I only had four or five good years.
I played with Willie Mays and against Hank Aaron. They were tremendous players, but they were no Josh Gibson.
I tried to emulate my favourite guitar players, the old bluesmen like Blind Willie McTell and Big Bill Broonzy. I used to sit by the record player and copy Chuck Berry and the Beatles. You can never copy someone completely, so you end up developing your own style.
Heroes didn't win. The heroes were whoever happened to win. History told their story -- the dead didn't say a word. All of it was bullshit.
I think the blues is fine for blues players, but free blues has never made much sense to me.
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