Top 1200 Rhythm And Blues Quotes & Sayings - Page 2

See, I have a different type of music from other peoples. They playing the other kind of blues, and I'm playing cotton-patch blues.... Ain't nobody now can play the blues that I play.

I listen to, like, funky Chicago blues. I love blues, but I love the funky, happy blues. There's a song about pretty much everything, including kidney stones, believe it or not. So there's something there for whatever you happen to be suffering, you know?

Rhythm and blues is about what life is, it's about being able to talk heartbreak and understanding that people go through it, not about this fantasy in how much you're spending.

To me, the blues is an infection. I don't think it's necessarily a melancholy thing; the blues can be really positive and I think I think anyone and everyone can have a place for the blues. It need not always a woeful, sorrowful thing. It's more reflective; it reminds you to feel.

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.

It was so easy living day by day Out of touch with the rhythm and blues But now I need a little give and take The New York Times, The Daily News.

A lot of what I listened to growing up was blues, but also folk and indie music. So there's this marriage of songs that structurally are quite bluesy. Sound-wise, there's a lot of indie as well. But you can't really say I'm pop-blues, because that's insulting to blues. It just can't exist.

We write to expose the unexposed. If there is one door in the castle you have been told not to go through, you must. The writer's job is to turn the unspeakable into words - not just into any words, but if we can, into rhythm and blues.

The blues will always be because the blues are the roots of all American music.

Of course, there are a lot of ways you can treat the blues, but it will still be the blues.

James Brown came from that hard, rough life that I came from. He took the blues and added rhythm to it. And he always had the most funkiest band; I liked the way he took his words and mixed it in with the band.

I was determined to create my own identity. My first hits, in fact, were straight-up rhythm and blues. My voice was compared to Aretha Franklin's - though, for my money, no one compares to Aretha.

People should hear the pure blues - the #? blues we used to have when we had no money.

Everything comes out in blues music: joy , pain , struggle . Blues is affirmation with absolute elegance.

We're blues people. And blues never lets tragedy have the last word.

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.

We are trying to prove that the blues lives on forever and anybody in this place can sing the blues.

Black people have always loved the blues - they basically created the blues.

There were times I thought I was going to turn to the blues, but then I'd hear better blues players.

Get rhythm when you get the blues.

Rock'n'roll is nothing but Boogie Woogie with stuff on top of it. And if you're black, they name it rhythm'n'blues, and if you're white, they name it rock'n'roll. So, I don't give a... You know.

It's never hard to sing the blues. Everyone in the world has the blues . . .

White rhythm is waltzes, marches, and the polka. In Africa, rhythm is used for a celebratory groove, but white rhythm doesn't have such an enormous vocabulary of spirits. It's basically militant.

Having a diverse sense of taste - or lack of taste - I loved so many different things. I was drawn to the stupidity and excitement of glam, I had a thorough upbringing in rhythm and blues.

You could play the blues like it was a lonesome thing - it was a feeling. The blues is nothing but a story... The verses which are sung in the blues is a true story, what people are doing... what they all went through. It's not just a song, see?

I was singing when I was five years old. My sister and I both had the talent from mom and dad, and she was in opera and I was into pop and uh, rhythm and blues, anything, I was about a four octave singer.

It's always difficult to define what jazz is or what jazz isn't. To me, the only definition that I can think of is it's music where a lot of different elements are played at the same time. The harmonic, the melodic... You're pushing the boundaries on every level. That could be true of rhythm and blues as well. I'm a musician.

Rhythm is one of the principal translators between dream and reality. Rhythm might be described as, to the world of sound, what light is to the world of sight. It shapes and gives new meaning. Rhythm was described by Schopenhauer as melody deprived of its pitch.

Time is a social institution and not a physical reality. There is no such thing as time in the natural world - the world of stars and waters, clouds, mountains and living organisms. There is such a thing as rhythm - rhythm of tides, rhythm of biological processes... There is rhythm and there is motion. Time is a way of measuring motion.

I can sing the blues and I have sung the blues. I feel it internally when I'm singing.

Blues means what milk does to a baby. Blues is what the spirit is to the minister. We sing the blues because our hearts have been hurt, our souls have been disturbed.

Music and the blues, they have taught me a lot. I think in this book, 'Book Of Hours,' there is this blues sensibility. There are moments of humor even in the sorrow, and I'm really interested in the way that the blues have that tragic-comic view of life - what Langston Hughes called 'laughing to keep from crying.'

Nobody can tell you how the blues feel unless they have the blues. We all take it differently.

There's a lot of women in blues music, lots of strong women and that sort of stuff. It's not the first thing that comes to mind when you think about blues. There were a lot of powerful blues guitar players in the olden times that were women. It's just that when you think about blues, you have this one image in your mind.

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'm not committed to putting myself up for a blues guitarist, even though I love playing the blues.

I'm an old soul. The blues, especially older blues, is the human element that kind of gives the music soul, and I think that maybe not enough people connect to the blues. It's a very powerful place to be; and if you can express that to an audience, I think that you can express a lot through that.

The blues? Why, the blues are a part of me. They're like a chant. The blues are like spirituals, almost sacred. When we sing blues, we're singing out our hearts, we're singing out our feelings. Maybe we're hurt and just can't answer back, then we sing or maybe even hum the blues. When I sing, 'I walk the floor, wring my hands and cry -- Yes, I walk the floor, wring my hands and cry,'... what I'm doing is letting my soul out.

Blues is a tonic for whatever ails you. I could play the blues and then not be blue anymore.

Working in bars back then, in the '50s, to get a job you had to play all kinds of music. There'd be customers come in and yell jazz tunes at you and yell rock 'n' roll tunes at you and polkas and rhythm and blues and country music.

My musical education was grounded in blues and Chicago blues - John Lee Hooker and Otis Redding.

See, that's nothing but blues, that's all I'm singing about. It's today's blues.

I'm also a blues musician, and all blues artists can trace their pain to the slavery fields of the Mississippi Delta.

Nowadays blues in particular has a wide, wide, wide, wide net of everything that's called blues. I think if somebody's coming to it in the last ten years or whatever, or even fifteen years, what their experience is what is called blues is different from mine. I have to expand my range of what's been called the blues. I think somebody who's new to it would have to go back and to see what is called blues now, where it came from. If that makes sense.

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.

Where I come from we say that rhythm is the soul of life, because the whole universe revolves around rhythm, and when we get out of rhythm, that’s when we get into trouble.

The fact I wasn't getting off made me realize that I really had to take a hard look at it and at the type of music that I played, which ranges from ballads to country type stuff to rock and rhythm 'n' blues. It takes in a wider spectrum.

A lot of people wonder, what is the blues? Well, I'm gonna tell you what the blues is.

When you sit down and think about what rock 'n' roll music really is, then you have to change that question. Played up-tempo, you call it rock 'n' roll; at a regular tempo, you call it rhythm and blues.

Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.

I wasn't popular in school, I was Mexican, I was all these inappropriate things. I started playing the ukulele and taking it to school, and I realized people liked listening to it. I would play it to comfort myself at home, and I'd play rhythm and blues songs that had four chords. That's how it started.

Blues purists never cared for me. I don't worry about it. I think if it this way: When I made 'Three O' Clock Blues,' they were not there. The people out there made the tune. And blues purists just wrote about it. The people is who I'm trying to satisfy.

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.

There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.

The Moody Blues was very big in France, because they liked that we were basically playing blues.

Finding out that Ray Charles sang country songs but it sounded as soulful as any rhythm and blues record that kind of opened up my horizons for what songwriting was and what singers I could listen to.

If you like rock and roll, if you like rhythm and blues, if you like jazz, if you like hip-hop, you might be black-ish.

It's a true feeling that comes from the heart, not something that just comes out of my mouth. Blues is what I love, and blues is what I always do.

I wanna record these girls individually. And then, I wanna cut a blues album on me. But all of it, original stuff, you know. When I listen to the blues today, it's like they all sounds similar. I wanna do something different, to try to add to the blues flavor.

Most blues don't have a beginning, middle, or end. You just cut a couple slices of blues.