Top 1200 Succubus Blues Quotes & Sayings - Page 3

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.

Maybe it's because I'm a designer, but when I am in a state of excitement, everything is so sharp and colorful and amazing, and I can look at blue and I see the yellow in it and the green in it, and the green-blues, the yellow-blues, so.

The jazz and blues clubs are like the jazz and blues musicians - they're disappearing.

And then I think we realized, like any young guys, that blues are not learned in a monastery. You've got to go out there and get your heart broke and then come back and then you can sing the blues.

Blues is life, you know? An appreciation for the depth of life and the fact that hard times strengthen you and make you ready - blues, a lot of times, is about the loss of love.

The Moody Blues were a blues band, so when we got discovered, we were taken to London. That's where we started to make it. That's where the record labels were. That's where the action was.

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.

When I die, they'll bury the blues with me. But the blues will never die.

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.

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.

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.

Most Americans have a sense of what the blues is. But in Hong Kong, they have no sense of the blues.

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

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.

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.

I'm a bluesman moving through a blues-soaked America, a blues-soaked world, a planet where catastrophe and celebration - joy and pain - sit side by side.

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

I was not aware of a ton of the stuff that was being said about me out in the world since I wasn't able to get British or American headlines from my prison cell in Perugia. But I was aware that in the courtroom, I was being called a succubus, a man-eater, 'Foxy Knoxy.'

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.

I spent a few years here in Memphis, in the late '70s and early '80s, where I was studying a lot of country blues players and their styles. So it seems like every record I'll do, I will appropriate these blues styles that I remember.

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.

Mentor’s Official and Complete Procedural Handbook on Initial Succubus Intake and Probationary Period (Abridged). “Abridged?” I spun toward Jerome. “Tell me you’re getting back at me for the time I accused you of wearing Old Spice.” “That one’s still coming,” said the demon. “This one’s for real.

Them pains, when blues pains grab you, you'll sing the blues right.

I don't know why people call me a jazz singer, though I guess people associate me with jazz because I was raised in it, from way back. I'm not putting jazz down, but I'm not a jazz singer...I've recorded all kinds of music, but (to them) I'm either a jazz singer or a blues singer. I can't sing a blues – just a right-out blues – but I can put the blues in whatever I sing. I might sing 'Send In the Clowns' and I might stick a little bluesy part in it, or any song. What I want to do, music-wise, is all kinds of music that I like, and I like all kinds of music.

But of course it's different now, the blues is no longer blues, it's green now.

All of my solos are blues based. Even though a lot of my songs get into pop, I wind up going back to the blues. Trying to escape it is like trying to run from the devil.

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.

Shoe Suede Blues opened for the Monkees in the 1997 reunion tour for two shows. I went out in disguise when I played with Shoe Suede Blues.

Blues is a big part of rock and roll. The best rock and roll got its birth in the blues. You hear it in Little Richard and Chuck Berry.

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.

My dad was good friends with the Bad Medicine Blues Band - one of the only blues bands in Fargo, as you can imagine! He took me out to see them play when I was 12 years old and I was really inspired by their guitar player, Ted Larsen.

The blues appealed to me, but so did rock. The early rockabilly guitarists like Cliff Gallup and Scotty Moore were just as important to me as the blues guitarists.

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

Blues is the bedrock of everything I do. All the characters in my plays, their ideas and attitudes, the stance they adopt in the world, are all ideas and attitudes that are expressed in the blues.

I would think, to me, growing up in the south, growing up with all the gospel music, singing in the church and having that rhythm and blues - the blues background was my big inspiration.

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 never had the blues; the blues always had me.

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.

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.'

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

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.

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.

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.

Whenever I sing blues from the '50s or the kind of blues that you might have heard Eric Clapton or Duane Allman emulate, I often feel the similarity of some of the ragtime stuff I sang early on. A lot of the phrasing and the harmonization is the same.

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.

When I went over to the States to promote Outrider, everyone was telling me I was a blues guitarist. I'm not a bloody blues guitarist. I'm a guitarist.

Blues is the bedrock of everything I do. All the characters in my plays, their ideas and their attitudes, the stance that they adopt in the world, are all ideas and attitudes that are expressed in the blues.

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.

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.

The first thing I learned was the 'St Louis Blues' when I was eight. Both my grandmothers, my mother and uncle played the piano. This was post-war Britain, and they played boogie woogie and blues, which was the underground music of the time.

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

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.

Just as a blues player can play 20 blues songs in a row but find a way to make each one different, ... I always want to find different ways to do something

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.

I began writing with Mike Pinder and eventually we went on to form a new band called The M&B, which later became The Moody Blues, what I would call a progressive blues band.

It's a blue album, but it's not a blues album. I'm not pretending all of a sudden now I'm blues.

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.

I think blues music is music of the soul. Of course, there are other forms. You could call some classical music blues music in that way.

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.