A Quote by Robert Quine

It was just like Howlin' Wolf. Once you arrive at the point that you understand it, the emotional factor is darker than some of the saddest blues stuff. — © Robert Quine
It was just like Howlin' Wolf. Once you arrive at the point that you understand it, the emotional factor is darker than some of the saddest blues stuff.
I love early blues like Bessie Smith, Muddy Waters, and Howlin' Wolf. I listened to the way these people sang, and it was just beautiful - straight from the soul. That, for me, was an inspiration.
I grew up listening to Muddy Waters and Howlin' Wolf and lots of blues, R&B and Motown.
I'd go over to friends' houses and ask them to put on some Howlin' Wolf, and they wouldn't know what I was talking about. Then, when they would come over to my house, I'd play them some blues. Their parents wouldn't let them come back. The blues were still called 'race records' back then.
I dabbled in things like Howlin' Wolf, Cream and Led Zeppelin, but when I heard Son House and Robert Johnson, it blew my mind. It was something I'd been missing my whole life. That music made me discard everything else and just get down to the soul and honesty of the blues.
My influences were the riff-based blues coming from Chicago in the Fifties - Muddy Waters, Howlin' Wolf and Billy Boy Arnold records.
I found my God in music and the arts, with writers like Hermann Hesse, and musicians like Muddy Waters, Howlin' Wolf, and Little Walter. In some way, in some form, my God was always there, but now I have learned to talk to him.
I'd like to just say that there's nothing darker than 'Old Yeller' and 'Bambi' and some of the early Disney stuff.
A lot of my friends, they think I grew up to rock and roll, but I didn't. I grew up to Hank Williams, Jimmy Reid, Howlin' Wolf, listening to a race record, blues.
When I was a kid, we didn't have any blues stations. I never heard Howlin' Wolf or Muddy Waters or any of those people until the Stones had come along, and I took it upon myself to find out who these people were that they were covering.
Isn't my music the last of the real rhythm and blues? Isn't it great? It's because of my musicians, we were weaned on Muddy Waters, Howlin' Wolf, Bo Diddley, Chuck Berry, Little Richard, Jerry Lee Lewis, all the founding fathers, the gods of thunder, who invented the foundation and the pulse of the greatest music in the world!
I hope I am pigeonholed with comedy. I'm really not interested in writing the darker stuff, the emotional stuff.
If you were to talk to somebody from Georgia you would understand what he's saying, he wouldn't sound like your next-door neighbor in Montana, but other than that it's the same language, just with a few little different nuances. That's just like country and blues, or blues and rock 'n' roll. They're the same music with different accents.
When I see Facebook, I feel like Howlin' Wolf must have felt when he first heard Elvis. 'They finally taught a white boy to do this.'
When you're a kid and you're trying to find your own voice, it's rather daunting to hear somebody like Howlin' Wolf, because you know that you'll never achieve that.
For groups like the Rolling Stones names like Muddy Waters and Howlin' Wolf were exotic inspirations. For Siegel-Schwall they were the guys that played with them on 43rd Street.
Comedy can be silly and gross and offensive, as long as there's sort of a point. You can make a joke that, on the face of it, is racist. Ostensibly someone can appear to be racist, but if you know you're making a point about race, and not just being pig-headed, then you can do that. I think some people who don't understand comedy will have a knee-jerk reaction to some stuff, and will always be offended by it because they don't understand it. Some people react to it in a vociferous way, which is unsophisticated, but there's always going to be those people out there.
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