A Quote by Tim Cahill

The blues style - moody or rollicking or boastful or bashful - developed in the Delta around 1900 and was, for a time, exclusively African-American. That isn't the case anymore.
The idea of a hypnotic riff as the prime mover of a piece of music has been around for a long time, whether you're talking about the Delta blues or music from Middle Eastern and African cultures.
I don't remember any impression [from blues].The blues was just everywhere in the Mississippi Delta. It was mostly black sharecroppers living there, and there was a lot of blues around. Sometimes the guys would sing the blues in the fields, working.
I'm in Delta Delta Delta, otherwise known as Tri-Delta. I've developed some great friendships, and it's enabled me to have a little bit more of a normal college experience.
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.
Since I was a kid, I've had an absolute obsession with particular kinds of American music. Mississippi Delta blues of the Thirties, Chicago blues of the Fifties, West Coast music of the mid-Sixties - but I'd never really touched on dark Americana.
In 1900, 180-plus out of every 1,000 African-American babies died.
My father was born in the year 1900 in South Carolina, and he grew up at a time where being an African-American child in the American South was to be deprived of access to anything close to a reasonable education. He only had three years of formal education, but he was self-taught. He read two newspapers a day.
After my early days of being a passionate young Elvis fan, Chuck Berry, Little Richard, etc. I got interested in Ray Charles and Ella Fitzgerald. Then I got turned on to the blues. I realized how important it was to our music in England at the time. Everyone was into the blues. Then you start looking at the different kinds of blues, and you follow the journey backwards from Chicago to earlier times back down to the Delta to the Memphis Blues.
By the time I was in my teens, I was listening to Delta blues and jazz.
I'm also a blues musician, and all blues artists can trace their pain to the slavery fields of the Mississippi Delta.
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.
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.
All the blues greats took chances and developed their own style. They didn't copy.
The delta blues is a low-down, dirty shame blues. It's a sad, big wide sound, something to make you think about people who are dead or the women who left you.
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.
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