A Quote by Ray Davies

When I wrote the song, I had the sea near Bombay in mind. We stayed at a hotel by the sea, and the fishermen come up at five in the morning and they were all chanting. And we went on the beach and we got chased by a mad dog-big as a donkey. ... I think that songwriting changed when groups started spending more time in the studio. ... I've written so many songs about Englishmen, I have to go elsewhere. ... Our repertoire consisted of rhythm and blues, sort of country rhythm and blues, Sonny Terry things.
When I wrote the song, I had the sea near Bombay in mind. We stayed at a hotel by the sea, and the fishermen come up at five in the morning and they were all chanting. And we went on the beach and we got chased by a mad dog - big as a donkey.
Our repertoire consisted of rhythm and blues, sort of country rhythm and blues, Sonny Terry things.
I want to go back to the format that radio started with rock n' roll, with country artists and rhythm and blues with that oldies type feeling. I want to put it all together and create a Top 40 of rhythm and blues and country and straight blues with Wolfman at the reins.
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.
When I started off in Wales, I sang and accompanied myself with guitar in the '50s. And then I got a band together, which is a rhythm section, really. I used to do a lot of blues, and rhythm and blues, and '50s rock 'n' roll and country, and all kinds of stuff.
I think that songwriting changed when groups started spending more time in the studio.
Finding out that Ray Charles sang country songs but it sounded as soulful as any rhythm and blues record that kind of opened up my horizons for what songwriting was and what singers I could listen to.
The Righteous Brothers started out in Orange County, California. It was about the whitest place in the country, but the black marines from the nearby base heard there were two guys singing rhythm and blues, so they came down to hear us. At the end of our songs they'd yell out, 'That's righteous, brother!' and that's how we got our name.
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.
I would think, to me, growing up in the south, growing up with all the gospel music, singing in the church and having that rhythm and blues - the blues background was my big inspiration.
There are happy blues, sad blues, lonesome blues, red-hot blues, mad blues, and loving blues. Blues is a testimony to the fullness of life.
You can't seperate modern jazz from rock or from rhythm and blues - you can't seperate it. Because that's where it all started, and that's where it all come from - that's where I learned to keep rhythm - in church.
You can't seperate modern jazz from rock or from rhythm and blues - you can't seperate it. Because that's where it all started, and that's where it all come from - that's where I learned to keep rhythm - in church
All life requires a rhythm of rest. . . There is a rhythm in the way day dissolves into night, and night into morning. There is a rhythm as the active growth of spring and summer is quieted by the necessary dormancy of fall and winter. There is a tidal rhythm, a deep, eternal conversation between the land and the great sea.
I don't think about Norfolk as I write songs, sadly no! But things like 'High' is a song about watching the dawn come up over the sea, and I've had many of those situations.
I love songs, and I love songwriting, and there's a standard of songwriting within Chicago blues in particular. I don't like the sad blues, necessarily; the Chicago blues is what I like, which is the kind of blues you can dance to.
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