A Quote by John Densmore

Ray grew up in Chicago so he had the blues, Muddy Waters and all that. He also had classical training. That was pretty cool. That was invoked in the intro to 'Light My Fire,' which was very kind of Bach-like.
My own musical background is based in the blues, and in classical composition. I grew up listening to Muddy Waters, John Coltrane, Miles Davis, Beethoven and Bach.
I grew up in a family that was very musical, learned the blues and everything like that. And I became a little bit frustrated with the simplicity of rock n' roll and blues. I started listening to a lot of classical music - mainly Bach, Vivaldi.
I love Bach cello suites, I love punk music, I love old blues, negro spiritual quartets, Muddy Waters' 'You Need Love.' There is a simplicity but also a bite that connects all that music, from the growl in the cello to the timbre in Muddy's voice.
It was Muddy Waters who took the Delta blues north to Chicago, electrified the sound, and changed the course of popular music as we know it. That's pretty much the judgment of history, and it is mine as well.
I grew up listening to Muddy Waters and Howlin' Wolf and lots of blues, R&B and Motown.
I wanted to play blues. But I wasn't blue enough. I wasn't like Muddy Waters, people who really had it hard. In our house, we had food on the table. We were doing well compared to many. So I concentrated on this fun and frolic, these novelties.
At the Muddy Waters thing, I played the first song by myself on an acoustic guitar. I thought that was great that y'all did that tribute to Muddy Waters. I had a real good time.
At the Muddy Waters thing, I played the first song by myself on an acoustic guitar. I thought that was great that y'all did that tribute to Muddy Waters. I had a real good time
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.
My influences were the riff-based blues coming from Chicago in the Fifties - Muddy Waters, Howlin' Wolf and Billy Boy Arnold records.
I'm not trying to top the 'Muddy Waters' album. What I'm doing by naming it 'Muddy Waters 2' is to let you relive that '90s kind of sound and experience.
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.
It was awesome growing up listening to Oasis and Paolo Nutini, but I also loved growing up listening to Ray Charles and Muddy Waters.
James Cotton is a real blues guy, and he played with Muddy Waters, and it surprised me that they would want me to make a record with them, that he called me to do this record. I'd never done anything like that before. But I love blues, so I was very happy.
I grew up listening to my parents' albums. Many of them were either classical - Bach, Beethoven and Brahms - or easy listening, like Mantovani. I loved the spectrum of emotions in classical music, from fortissimo to pianissimo. My early passion for classical made my drumming more musical later on.
There's no way in the world I can feel the same blues the way I used to. When I play in Chicago, I'm playing up-to-date, not the blues I was born with. People should hear the pure blues - the blues we used to have when we had no money.
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