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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.
In blues, classical and jazz, you get more revered with age.
'Tailgate Blues' is kind of a lyrical masterpiece of a country song.
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.
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.
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 consolidation of the music business has made it difficult to encourage styles like the blues, all of which deserve to be celebrated as part of our most treasured national resources.
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.
We are trying to prove that the blues lives on forever and anybody in this place can sing the blues.
Pat Benatar might need a rock band, but I can just sit with a blues guitar for an hour and a half and do folk songs and great contemporary ballads, and not many people can pull that off.
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.
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 a heavy diet of gospel, folk, and blues because those are kind of the cornerstones of traditional American music.
I found the blues too limiting, and classical was too disciplined.
I went through a whole blues period in the Nineties, and that had some influence on 'Load' and 'ReLoad.'
I listen to a lot of Chicago blues, I suppose. It reminds me of growing up, I guess. But I'm also obsessed by close-harmony groups. Actually, I'm fascinated particularly by brother duos, how they blend together. The Everly Brothers, the Stanley Brothers, The McQuarrys. There's something inherently magical about harmony.
John C. Reilly
I once wrote a short story called 'The Best Blues Singer in the World,' and it went like this: 'The streets that Balboa walked were his own private ocean, and Balboa was drowning.' End of story. That says it all. Nothing else to say. I've been rewriting that same story over and over again. All my plays are rewriting that same story.
I used to be a great blues singer.
I'm into hip-hop, rap, country, blues, gospel, old school, new school... whatever... pop. If it's really good, I like it. I don't have to be told what to listen to. If I like it and it's good, I'll listen to it.
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.
I was lucky enough to get to see guys like Bugs Henderson, Jimmy Wallace, all those great Texas blues players.
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.
Martin Luther King, Jr.
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