Top 1200 Delta Blues Quotes & Sayings - Page 19

As we all know, the evil of slavery and the sting of the whip have given us many things including the voice of Nina Simone, the prose of James Baldwin, the Air Jordan sneaker, the blues, jazz, moonwalking, and more recently gangsta rap.

All the best British groups were inspired by black American music. With The Beatles, it was Motown and the blues. With me, it was a mixture of British styles and the more sophisticated Seventies soul of Barry White and Marvin Gaye.

Blues are the songs of despair, but gospel songs are the songs of hope.

Blues was my first love. It was the first thing where I said, 'Oh man, this is the stuff.' It just sounded so raw and honest, gut-bucket honest. From then I started rebelling.

I think the blues is the best literature that we as blacks have created since we've been here. I call it our 'sacred book.' What I've attempted to do is to mine that field, to mine those cultural ideas and attitudes and give them to my characters.

Free music, to me, is music without boundaries. It's music that... says you don't have to play a blues in three chord change. See what I'm saying? Music that can go from any range.

Some of the greatest blues music is some of the darkest music you've ever heard.

The Band is probably the ultimate example of people taking all kinds of music, from gospel to blues to mountain music to folk music to on and on and on and on and putting them all in this big pot and mixing up a new gumbo.

From the first album, Led Zeppelin was always going to be a totally new approach from what had gone before - whether it was approaching the blues or folk music like 'Babe I'm Gonna Leave You': nothing existed like that.

I know I did 'Establishment Blues,' and I said 'This is not a song it's an outburst' and I'd play it, I never did describe it as a rant - R-A-N-T - but the thing is it's exactly that. Sometimes it sounds like that, but there's a lot out there on the everyday man, on the plight of the little guy.

I'm primarily thought of as a rocker, and certainly 'Frankenstein' had a very dramatic power rock image. It was almost a precursor of heavy metal and fusion. But I also love jazz and classical and if there's one common thread that runs through all my music, it is blues.

Put tattoos all up and down our thighs, do anything our parents would despise. Take uppers, downers, blues, and reds and yellows, our brains are turning into jello.

Are you really into pop? Are you really into old country? Blues? If you're not honest about your influences, then things don't sound as real as they can be. They're not as sharp a cheddar cheese as they can be. And I'm trying to be the sharpest cheddar I can be.

It was fans... who understood 'Star Trek' and brought it back to life. 'Hill Street Blues,' 'The Paper Chase,' and 'Til Fly Away' all got second chances... So did 'Gunsmoke' and 'Cheers.' It's very hard to change a network's mind, but it can be done.

The blues is deceptively simple. Verse and chorus. Sometimes not even a chorus. Four bars that repeat, no Auto-Tune, electricity optional. It is the most direct, bare-bones of content. There is no interference between the head and heart.

I'm not really a country singer, although I did make a couple albums and love its simple, straight-from-the-heart approach, but I have always sung a lot of jazz, show tunes, pop tunes, gospel and blues.

They just said, 'Roll the tape.' No rehearsal or nothing... Muddy [Waters] didn't come in and say 'I wanna rehearse.' He used to look at me and say 'Let's just play the blues. That's all you need to do.

My style of singing has always been referred to 'soul' singing when it fact it's more influenced by English R&B Blues Shouting. I'm closer to Led Zeppelin as a vocalist than to Ella Fitzgerald. It was torture dealing with major labels.

Rock ’n roll is really swing with a modern name. It began on the levees and plantations, took in folk songs, and features blues and rhythm. It's the rhythm that gets to the kids – they're starved of music they can dance to, after all those years of crooners.

Inside the museum infinity goes up on trial. Voices echo, 'This is what salvation must be like after a while.' But Mona Lisa must have had the highway blues; you can tell by the way she smiles.

You don't understand what you're angry about as a young man. You have those young man blues.

In those days, I didn't know how guys like Clapton and Beck were getting that searing blues lead sound, so I developed my style to be rhythmic and chord-based, with simple lead lines that you could almost hum.

When I die, I want them to play The Black and Crazy Blues, I want to be cremated, put in a bag of pot and I want beautiful people to smoke me and hope they got something out of it.

I was addicted to rhythm 'n' blues pretty much directly into folk music. I had my little 45s of mostly black artists. That was as close as I got. I've never listened to heavy rock or stuff that jangles my nerves, because I'm already jangled.

Visually Agincourt is a pre-Raphaelite, perhaps better a Medici Gallery print battle - a composition of strong verticals and horizontals and a conflict of rich dark reds and Lincoln greens against fishscale greys and arctic blues.

The world has made everything else and still it can't make peace. And the reason it can't make peace is because of the evil, ignorance and stupidity. I have songs that explain these facts. And that's the blues.

I was in a rock band; I was my own folk singer; I was in a death metal band for a very short time; I was in a cover band, a jazz band, a blues band. I was in a gospel choir.

Because we grew up in Australia, to find information about a lot of blues guys, I used to go to the library and find the jazz magazines. They didn't even sell them at the time in news agents and stuff.

I travel light, but always with three key things: Passport, cash and iPod. The latter is perhaps the most key - it keeps me going at the gym or on the plane; I listen to everything from rock to country to blues.

Teenagers did not have, before rock 'n' roll and rhythm-and-blues - they did not have any type of music they could call their own once they got over 4 or 5 years old until they were well into their 20's and considered adults.

I was driving to school at Reseda High School - I was a junior, and it was early 1956. I had a '49 Ford. I was listening to the country station, and 'Folsom Prison Blues' comes on... It didn't sound like the stuff I was hearing on the pop stations.

I used to listen to the radio, and when I was about 18 years old, B.B. King was a disc jockey and he had a radio program, 15 minutes a day, over in West Memphis, Arkansas, and he would play the blues.

The great British blues guitarists of the Sixties - people like Eric Clapton, Jeff Beck, Jimmy Page and Peter Green - could play like virtuosos, but they also understood the importance of energy and intensity

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.

That's where the Black Keys and Jack White have succeeded and I've failed: They've actually convinced college kids that they're listening to hip music - but it's just blues twisted a new way - while I'm playing for the college kid's parents.

I only hope that one day, America will recognize what the rest of the world already has known, that our indigenous music - gospel, blues, jazz and R&B - is the heart and soul of all popular music; and that we cannot afford to let this legacy slip into obscurity, I'm telling you.

I grew up with KTSU, and that station gave me so much info about the pantheon of black sounds: reggae, gospel, blues, soul, hip hop, and mostly they played jazz. That was a major part of how I understood music.

On piano, I tend to write either gospel or singer-songwriter songs, sometimes kind of rocking blues songs. But the more heavier rock stuff I will write on bass.

No... the blues are because you're getting fat or because it's been raining too long. You're just sad, that's all. The mean reds are horrible. Suddenly you're afraid and you don't know what you're afraid of. Do you ever get that feeling?

My style of singing is very much Latin jazz meets Latin and a little bit of rhythm and blues. When I do ballads, my fans love it. They want to listen to my classics. They want to party.

When I got out of high school, I was in a blues band. It was the kind of music I was interested in, and listening to, mostly because it was becoming a vehicle for a generation of guitarists - like Jeff Beck and Eric Clapton. Mike Bloomfield. And that's what I wanted to be, principally: a guitar player.

I'm no ethnomusicologist. There is a connection between the five-note scale used both in traditional Chinese music and the blues, but I don't really understand it. All I know is, whenever I play with Chinese musicians, we seem to belong to the same musical gene pool.

The last mad throb of red just as it turns green; the ultimate shriek of orange calling all the blues of heaven for relief and support... each color almost regains the fun it must have felt within itself on forming the first rainbow.

It's marvelous when you visit Tokyo: they have these clubs, and they'll have 'Motown Night' or 'The Beatles - Totally Authentic and Live!' You know it's shrunk, but at least there's some sort of youthful figure to it. Whereas, the blues scene in Europe is more like, 'Here we go again.'

Actor Mike Warren [was my former teammate], who was in Hill Street Blues. There are more, but it's starting to sound like a team reunion at Red Lobster. They were a great bunch of guys and we accomplished a lot together. That's something you don't forget.

One thing that I love about country music, probably more so than any other culture - maybe the blues rivals it - there are so many American folk heroes. There's the Coal Miner's Daughter, the Man in Black, the Red-Headed Stranger, and on and on.

I think once I had lived life, once I had failed enough in this lifetime and got back up a thousand times from failing, I really connected to the blues.

... When I heard "Pride and Joy" by Stevie Ray Vaughn on the radio, I just said "Hallelujah" .. he was just so good and strong and he would not be denied... he single handedly brought guitar and blues oriented music back to the marketplace

I liked the more sophisticated urban style of blues like Ray Charles and B. B. King, Bobby Blue Bland, Lou Rawls; people like that with more of a tendency toward jazz.

When Chuck Berry came along, what he did was more rock & roll than it was blues. It was more exciting. He was like the next step. I thought his first single, 'Maybellene,' was the greatest song in the world.

I love Las Vegas, but I never get a chance to play a club like the House of Blues. I guess we've graduated to a bigger scale than that. When the Eagles come in and play, that's on a grand scale.

I really enjoy spending Sunday evenings with friends, because Sunday evenings are always frightening. You are obsessed by the fact that you are working again the next day. And sometimes you get the blues.

Amy [Winehouse] changed pop music forever, I remember knowing there was hope, and feeling not alone because of her. She lived jazz, she lived the blues.

I didn't have to be a pop singer with a certain look. When I started, there was really a revolution in natural artists with blues and folk artists crossing over; otherwise, I wouldn't have been able to get started.

I never build myself us. I let the people do that. I'm the most laid-back person, and I let them build me up. If you ask me, I say, 'I''m just a guy playin' some blues.

I want to do a romantic comedy that nobody thought I could do. And then do a comedy with Dan Aykroyd that is totally different from 'The Blues Brothers.' I'm a comic actor, but I'm an actor, too.

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.

The story of American pop music is the story of failure. The blues, country music, it's not the story of success. People don't win; they lose.

I used to listen to the radio, and when I was about 18 years old, B.B. King was a disc jockey and he had a radio program, 15 minutes a day, over in West Memphis, Arkansas and he would play the blues.

The podcast 'A History of Jazz' began telling its story in February - 100 years after the recording of 'Livery Stable Blues' by the Original Dixieland Jazz Band, the start of jazz as a legitimate branch of music.