Top 1200 Chicago Blues Quotes & Sayings - Page 5

In the same way I wanted to learn how to play poker, I've always kind of been into the blues. It just seems like a cool thing, but I didn't know much about it. So I thought, 'Hey, let's really learn about the blues.'

I call myself a blues singer, but you ain't never heard me call myself a blues guitar man.

Aside from a few master teachers that we have had over the years, this has been a completely local talent development. But people have started to come now from Chicago, we have a number of students from Chicago and different places of the country and even in the world.

It's very freaky in Chicago.There's something in the water there, I don't know what it is. But the actual word Chicago means, in the Indian language, garlic. It was just garlic and mosquitoes there. And that is the roughest city on the planet, and I been to every place in the world.

I didn't really grow up listening to blues, because I grew up in the Northwest. It wasn't really the center for blues.

There is always going to something very grounded about the characters I play, because of my Chicago roots, because the city is so grounded. Even my wife pointed it out when we were in the city, she said that even the architecture is grounded in Chicago, it's so solid. Because it has to deal with winters. There is something about Chicago that keeps people centered and grounded.

Chicago is my absolute favorite city. It's clean, the food is amazing, and everyone is so warm and welcoming. We've gotten really, really used to it and really excited about our second home in Chicago.

I enjoyed living in Chicago and doing plays for little or no money. I never actually thought that I would leave Chicago, originally. I wasn't one of those people that had a plan to pack up the van and drive out to Hollywood. I didn't want to.

I'm John Lee Hooker in the sense that he was a blues man and he played blues his whole life. I'm a rock guy and I'm going to play rock music my whole life.

The blues is like this. You lay down some night and you turn from one side of the bed to the other: all night long. It's not too cold in that bed, and it ain't too hot. But what's the matter? The blues has got you.

Chicago is like a warzone. Chicago is worse than some of the people that you report, in some of the places that you report about every night, in the Middle East.

A lot of the original people on 'SNL' came through Chicago - and Toronto, I'm sure - but Chicago was the center of it all. When I was there, Chris Farley - I knew him; we hung out and stuff - he went off to 'Saturday Night Live,' it was like, 'It's possible to be from here and make it.'

I'd been acting in Chicago since I came back after University, and I got a call from my agent saying, 'They're doing this revival of 'On a Clear Day,' and I actually auditioned when the team came through Chicago for the 'American Idiot' tour.

I'm a big, big blues fan and the last several years I've really invested in the blues a lot, and I think my playing is getting better because of it - not necessarily better on a technical level, but certainly on a level of appropriateness.

If they played more blues, people would just get it - they try to hold it back but just about can't hold it back now because the blues is really going.

I'm crazy about James Brown. I'm crazy about soul music. And then the blues. Rhythm and blues.

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.

Blues artists now try and stay in a box. Back in the day at all the clubs you would see James Brown, Jimi Hendrix, The Isley Brothers, Little Richard and Etta James all play the same venues. It was a mix of funk, soul, blues and rock 'n' roll.

The last copy of the Chicago Daily News I picked up had three crime stories on its front page. But by comparison to the gaudy days, this is small-time stuff. Chicago is as full of crooks as a saw with teeth, but the era when they ruled the city is gone forever.

Chicago is a wonderful area because it's blessed with a tremendous number of museums of various sorts, not only the Art Institute of Chicago but the Field Museum of Natural History, the Oriental Museum on the south side.

My mother died of ovarian cancer; I support organizations that raise awareness of this silent killer. Women's shelters - Jenesse Center in L.A. and the Primo Center in Chicago. Kovler Diabetes Center in Chicago.

I'm a little hoarse tonight. I've been living in Chicago for the past two months, and you know how it is, yelling for help on the way home every night. Things are so tough in Chicago that at Easter time, for bunnies the little kids use porcupines.

I never had the blues; the blues always had me.

The farm is one field to the east of the railroad track that used to connect New Orleans with Chicago. The track runs beside Highway 45, an old U.S. route that unites Chicago with Mobile, Alabama.

It's a tough town, it's a loving town, it's a supportive town, and that's why so many great news people, journalists have come through Chicago or are from Chicago.

I am so weak over love and heartbreak. My music is rhythm and blues and with that said, the blues element of it is a major portion. I feel like it has been lost in R&B and a lot of people are scared to talk about their vulnerabilities and insecurities. They want to keep it up and in the club.

I listened to King Oliver and I listened to Louis Armstrong, Jelly Roll Morton, Thelonious Monk, Charles Mingus, John Coltrane, Archie Shepp... I listened to everything I could that came from that place that they call the blues but, in formality, isn't necessarily the blues.

Chicago will give you a chance. The sporting spirit is the spirit of Chicago.

I think we as a band, as individuals, understand that all popular music stems from blues and jazz and even pop, but rock 'n' roll especially comes from blues. What we're trying to do is play rock 'n' roll, but other people call it different things.

I spend a lot of time in Chicago. A lot of Canadians. I can bring them to different parts of Chicago, drop them off at 11'o clock at night and there's a good chance you might not see that person again.

We're not going to play the blues anymore. Let the white folks play the blues. They got 'em, so they can keep 'em.

Lonnie Donegan and the folk movement were responsible for a lot of the spread of the blues in England. The group Them with Van Morrison was a big influence on me, too, as were The Stones; The Yardbirds, John Mayall, and the other British blues pioneers.

When the blues came out, it was something pure and undefined, but when all these white groups got hold of it, it became something else that didn't sound anything like the original. So you had Led Zeppelin doing their thing, which had come all the way from the blues.

My dad was born in Chicago in 1908... his parents came from Russia. They settled in Chicago, where they lived in a little tiny grocery store with eight or nine children - in the backroom all together - and my grandmother got the idea to go into the movie business.

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.

The blues is an impulse to keep the painful details and episodes of a brutal experience alive in one's aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy but by squeezing from it a near-tragic, near-comic lyricism. As a form, the blues is an autobiographical chronicle of personal catastrophe expressed lyrically.

I was considered as a jazz man rather than as a blues player. There were no blues players-you played one sort of jazz of another sort of jazz.

Knowing that more people associate Chicago with street violence than generosity is difficult for me because, despite all my proclamations of being from the Bay Area, I have spent much of my life in Chicago. So I have a deep love and a pretty good understanding of the city.

Sure, I get the blues. But what I try to do, is apply joy to the blues, you know? I don't know if it's a technique, or just being bent that way, being raised by the folks I was raised by.

I was living and working with adult men who were playing a real art form. And I had been playing blues all my life. As soon as I formed my first band, we played Jimmy Reed stuff. So it wasn't like I was a white kid who was learning the blues from B.B. King records.

I kind of got really, really into 'Hill Street Blues' when it came out. I used to leave a class early just to make sure I could watch the episode of 'Hill Street Blues' that day.

If you stand still in any city long enough, you see everyone pass you by. So you're in Chicago. If you stand on the corner of Belmont and Clark, and you do that for three years, you'll pretty much have seen everybody in Chicago pass that junction.

Once I was checking to hotel and a couple saw my ring with Blues on it. They said, 'You play blues. That music is so sad.' I gave them tickets to the show, and they came up afterwards and said, 'You didn't play one sad song.'

I do not claim any of the creation of the blues, although I have written many of them even before Mr. Handy had any blues published. I heard them when I was knee-high to a duck.

You know I'm a Chicago kid, and Chicago will always have a big piece of my heart. But with Milwaukee - for me it was just love at first sight. As soon as I got here, I was like, Wow, this is the place for me.

The blues are important primarily because they contain the cultural expression and the cultural response to blacks in America and to the situation that they find themselves in. And contained in the blues is a philosophical system at work. And as part of the oral tradition, this is a way of passing along information.

When I first got out of school, I went on a children's theater tour, and I went around the country a little bit that fall, and it was the first time I went to Chicago. We spend a couple of days in Chicago, and I was really struck viscerally by the city.

It's an often-asked question, 'Why did all these spotty white English boys suddenly start playing blues in the '60s?' It was recognized as this kind of vibrant music and when I first started playing in a blues band I just wanted to bring it to a wider public who hadn't really heard it.

For Alkaline Trio, Chicago is our hometown. The band started there. Even though we all live in different cities now, we still call Chicago home, and it's always really exciting to come back and play for our best crowd.

There are two Chicagos, as you know. There's one Chicago that's incredible, luxurious and all - and safe. There's another Chicago that's worse than almost any of the places in the Middle East that we talk, and that you talk about, every night on the newscasts.

I'm from Chicago. And I was an actor in high school and college, and I wanted to see if I could make a run of it in this job. So, I went downtown in Chicago, and I went up on a stand-up stage and did an open mic. It went well, so I'm like, 'Alright, I'll give it another try.'

For all the things that make Chicago great, for all the things that make us proud to call ourselves Chicagoans, the violence that is happening corrodes our core. It is not the Chicago we know and love.

You don't have to play the blues to play rock 'n' roll, but that's where, somewhere along the line, your influences came from. I mean, I don't care where you got it from. If you got it from Eric Clapton, he got it from the blues.

Whenever I'm in Kansas City, I think back to all the jazz-blues greats who played the blues here - like Count Basie, Charlie Parker and Jay McShann. I watched those guys jam in different places and heard a lot of things - but I couldn't do what they did. They were too good.

People who are from Chicago are just funnier than people who aren't from Chicago.

I used to listen to country and western and blues, John Lee Hooker, spirituals, the Bluegrass Boys, and Eddie Arnold. There was a radio station that come on everyday with country, spirituals, and the blues.

We just sang real simple songs in a simple way that got to people. We didn't try to tart them up with orchestral arrangements and all the stuff. We were all blues fanatics. We like R+B and blues and simple, gut-feeling music.

I think the audiences in Chicago are really open. They're engaged and eager, and they don't feel cynical to me. Sometimes in New York, there's a sense of, 'Prove it to me; prove this is worth my time.' I never felt that in Chicago.

People, whether they know it or not, like their blues singers miserable. They like their blues singers to die afterwards.

When you think blues, you think BB King. Even a young kid can look at a picture of BB King and say, 'the blues.' The man is more than a musician. He's a monument.