A Quote by Denny Laine

In the sixties when Paul was with the Beatles and I was with the Moody Blues, we shared the same bill and tried to blow each other off the stage. — © Denny Laine
In the sixties when Paul was with the Beatles and I was with the Moody Blues, we shared the same bill and tried to blow each other off the stage.
Paul and I were friends, the Moody Blues toured with the Beatles on the second British tour. That developed into me working with Paul, whom I always admired.
I knew Paul when he was in the Beatles. We did the second Beatles British tour with the Moody Blues. And we became friends. I went to a couple of the sessions for the 'Sgt. Pepper' album, we went to parties together, we went to see Jimi Hendrix together.
The writing of the Beatles, or John and Paul's contribution to the Beatles in the late sixties - had a kind of depth to it, a more mature, more intellectual approach. We were different people, we were older. We knew each other in all kinds of different ways than when we wrote together as teenagers and in our older twenties.
Everyone tried to be a singer other than just a player. We had four voices in The Moody Blues.
Australian bands are so self-deprecating - then they go on stage and blow every other band off the stage.
I like Bill a lot. As Bill is presented, I mean you don't ever see Bill blow her head off? You know? And I think what Quentin has done is he created a monster.
It just annoyed me that people got so into the Beatles. "Beatles, Beatles, Beatles." It's not that I don't like talking about them. I've never stopped talking about them. It's "Beatles this, Beatles that, Beatles, Beatles, Beatles, Beatles." Then in the end, it's like "Oh, sod off with the Beatles," you know?
I am not the Beatles. I'm me. Paul isn't the Beatles...The Beatles are the Beatles. Separately, they are separate.
I'd bite off the Beatles, or anybody else. It's all one world, one planet and one groove. You're supposed to learn from each other, blend from each other, and it moves around like that.
Not that I got bored with it all, or I didn't like the people in The Moody Blues. I just wanted to go off and do other things purely because it was out there, you know. I'm kind of glad that I did and that I didn't just stick with one thing.
Asleep by the Smiths Vapour Trail by Ride Scarborough Fair by Simon & Garfunkel A Whiter Shade of Pale by Procol Harum Dear Prudence by the Beatles Gypsy by Suzanne Vega Nights in White Satin by the Moody Blues Daydream by Smashing Pumpkins Dusk by Genesis (before Phil Collins was even in the band!) MLK by U2 Blackbird by the Beatles Landslide by Fleetwood Mac Asleep by the Smiths (again!) -Charlie's mixtape
I wrote an op-ed piece in The New York Times about the amazing effect of shared wonder - how I have an audience filled with people who you'd think would hate each other, people from every religious category, all at the same show at the same time. And it's an amazing phenomenon to watch this shared sense of wonder, where these people who really don't like each other - for good and bad reasons, reasons that make sense and that don't make sense - are in the same room, experiencing this unification.
The Moody Blues was very big in France, because they liked that we were basically playing blues.
I was part of that whole early Moody Blues transitioning from a sort of R&B-blues band to being more progressive.
I only ever asked two people to work with me as a partner. One was Paul McCartney and the other Yoko Ono. Paul and me were the Beatles.
When I came to The Moody Blues, we were a rhythm and blues band. I was lousy at rhythm and blues - I think the rest of us were.
This site uses cookies to ensure you get the best experience. More info...
Got it!