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When I think of music, I think of music in its totality, complete. From the lowest blues to the highest symphony, you know, so what I'd like to do is exemplify each style of as many periods as I can possibly do.
Most of the songs I sing have that blues feeling in it. They have that sorry feeling. And I don't know what I'm sorry about. I don't.
I was backstage at the House of Blues in L.A where I was about to perform, and Stevie Wonder and Prince turned up at my dressing room together! Stevie started beat boxing and Prince started singing one of my songs, all of a sudden it was like I was in a cypher with these incredible artists.
When The Who first started, we were playing blues, and I dug the blues and I knew what I was supposed to be playing, but I couldn't play it. I couldn't get it out. I knew what I had to play; it was in my head. I could hear the notes in my head, but I couldn't get them out on the guitar.
A lot of people relate me to the blues but I don't think it's a hindrance at this point. I've been doing it long enough that I can do different things and be accepted.
The blues is the foundation for a lot of things. Things have branched off. It's cool how music grows, but the foundation is always there. It's not going anywhere. The blues is always going to be relevant.
Gary Clark, Jr.
In blues music, there's a lot of borrowing, so it's often difficult to identify the originator of a song.
There was one emotional outlet my people always had when they had the blues. That was singing.
I didn't want to go out and change anything. I just wanted to make the music that was part of my background, which was rock and blues and hip-hop.
Another thing to do with the blues is how they were recorded. They were done on the quick, and some of that stuff was made on wire, not even tape, let alone digital.
I didn't really grow up listening to blues, because I grew up in the Northwest. It wasn't really the center for blues.
Our repertoire consisted of rhythm and blues, sort of country rhythm and blues, Sonny Terry things.
I was never really that interested in the punk movement. I was a blues guy: I liked Motown, James Brown.
My take on rap is driven by straightforward American southern rock and blues.
I'm an Australian, and when I grew up much of my influences were American - blues music and country music, all that sort of thing.
One thing the blues ain't, is funny.
'Tailgate Blues' is kind of a lyrical masterpiece of a country song.
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.
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've gone the full spectrum - from gospel to blues to jazz to soul to pop - and the public has accepted what I've done through it all. I think it means I've been doing something right at the right time.
In blues, classical and jazz, you get more revered with age.
The American press has the blues. Too many authorities have assured it that its days are numbered, too many good newspapers are in ruins.
I think that the blues is in everything, so it's not possible to neglect it. You hear somebody go 'Ooh ooh oooh,' and that's the blues. You hear a rock n' roll song. That's the blues. Somebody playing a guitar solo? They're playing the blues.
Nobody taught me to play bottleneck. I just saw it and taught myself. I got an old bottle and steamed the label off, put it on the wrong finger, I basically did everything wrong until I met some of the Blues legends early in my career who taught me another way. I didn't have anyone to tell me women didn't play bottleneck.
The world I live in is benefiting from things like satellite radio. Jazz and blues fests are everywhere now, and Americana is going strong on college radio. What I'm hearing is an appreciation of real music.
A. P. J. Abdul Kalam
John F. Kennedy
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