A Quote by Paul Rodgers

I look at John Lee Hooker and Muddy Waters, guys who had a fantastic longevity, and I learned something from them. They didn't try to sell records. They weren't saying, 'Ok, what can I write, what can I do in the studio that will sell?' They were just doing their thing, and people picked up on it. I like the idea of that.
Is there one blues guy who was the most sophisticated and influential, like Duke Ellington or Louis Armstrong in jazz? Was it Muddy Waters, Little Walter, Lightnin' Hopkins, John Lee Hooker, B.B. King, Robert Johnson, or all of them? I think you have to pick all of them.
My dad was a blues musician around Dublin when I was a baby, so the only music I would listen to growing up was John Lee Hooker and Muddy Waters. It's music that feels like home to me.
I was essentially raised on blues music. My dad was a blues musician around Dublin when I was a baby, so the only music I would listen to growing up was John Lee Hooker and Muddy Waters. It's music that feels like home to me.
My models for graceful aging are guys like John Lee Hooker and Mississippi John Hurt, who never stopped working till they dropped, as I fully expect to be doing, and just getting better as musicians and as human beings.
Forget words like 'hard sell' and 'soft sell.' That will only confuse you. Just be sure your advertising is saying something with substance, something that will inform and serve the consumer, and be sure you're saying it like it's never been said before.
My favorite country blues player was Big Bill Broonzy. City blues was Freddie King, but I liked them all - Muddy Waters, John Lee Hooker, Ralph Willis, Lonnie Johnson, Brownie McGhee and the three Kings, B.B., Albert and Freddie. Jazz-wise, I listened to Django, Barney Kessel and Wes Montgomery.
This business is hard. People and producers and studios and finance guys get caught up in saying, "Women don't sell movies," or "This person doesn't sell foreign," or "You have to attach guys first," or "People don't want to see women do this." I've heard those things so many times that I've actually heard myself say them, a number of times.
I'm not the cool thing, and I'm not going to be the cool thing for a really long time, and it isn't like I'm not the cool thing and I sell 3,000,000 records every time. I'm not the cool thing, and I barely sell 150,000 records, if that, ever. So I'm obviously working really hard to sustain myself. I'm actually a target to be dropped, because that's just not enough records for a big company.
In the beginning, because of the Pavement thing, we were able to sell a certain amount of records. We were able to sell not such a great amount of records, but enough to live on. So there was no incentive to do what didn't come naturally.
I don't think, like, 'I've got to sell so many records here, or so many records there.' That's the record label's job. They've got to worry about how were doing in Kazakhstan or Germany. My job is just to write and sing.
If you've ever had somebody try to sell you something - people who can sell, they really are not manipulating you. They are selling themselves.
As opposed to coming up with something fantastic and trying to sell it to a studio, now all you have to do is get people to believe what you believe.
I've heard that Oasis or Coldplay will sell tickets, but they can't sell records. They sold out Madison Square Garden in three hours. And they can't sell albums. I don't know what's going on.
Obviously there was the idea that we could sell more records if we played live, but I guess I didn't care enough to sell more records to do that.
Everyone has something to sell. The greatest thing you can ever sell is an idea or talent.
The only thing Kevin Lee does better than me is talk and sell fights like that. I sell fights my own way, inside the cage.
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