Blues Singers

"There are only a few immediately recognizable electric guitarists and Albert King is one of them. [...] Perhaps the main ingredient in his uniqueness is his sense of dynamics."

"[King] used to be a bulldozer driver, and plays like it. An awesomely physical guitarist, he may grab a note by the throat and muscle it up to the breaking point with his beefy right hand. Or he may just squeeze that note a little, and a little more, and a little more, teasing, coaxing, twisting it into place with subtly shaded bends. Albert King is the master of both the knockout band the nuance, and for him both extremes yield remarkably expressive results. [...] With his electrifying vibrato and eternal sustain, he covers a range of expression from delicate quips to police siren wails."

"It's safe to say that Bruce is the least prominent member of the legendary power trio Cream. That said, Bruce was more than capable of holding his own with bandmates Eric Clapton and Ginger Baker within the confines of the band that gave us iconic rock tracks such as "White Room" and "Sunshine of Your Love." Trained in classical music and proficient in jazz, Bruce also spent time playing the blues rock associated with Cream. His ability to adapt and excel in several genres of music was a massive part of his greatness. That versatility remains one of the defining characteristics of his professional legacy."

"Albert King is the Muhammad Ali of blues guitar -- a heavyweight with finesse, a bruiser with grace. Float like a butterfly, sting like a bee."

"Like his renowned guitar playing, Albert's husky voice is a most sensitive blues instrument -- sometimes powerful, sometimes gentle, often both. It's an intimate voice, full of experience and humor, and it's just as personal and identifiable as his guitar work."

"There has been no more potent embodiment of that spirit than the singer Huddie Ledbetter, known as ‘Leadbelly’. Ordinary he wasn’t: born in rural Texas in c.1888, regal in bearing and strong as an ox, he claimed to be the world’s greatest cotton picker, railroad track layer, lover, drinker and guitar player. His pride was matched by a temper and disposition to violence, resulting in spells in prison for assault and murder. And it was in 1933, in the Louisiana State Penitentiary, that he was discovered by folksong collectors John and Alan Lomax. Under the sponsorship of the Lomaxes, Leadbelly began his rise to stardom, benefiting from the gathering vogue for trad jazz and rugged authenticity. He gave concerts across the US and Europe, dying in New York in 1949. Though the strictest arbiters exclude his work from the jazz canon, it’s hard not to recognise his vital link to the essential force of the music."

"Every guitarist who bends or vibratoes a string to make it sing owes a debt to B.B. King. With influences as diverse as T-Bone Walker, Charlie Christian and Django Reinhardt, the late guitarist turned the blues world upside down in 1952 with “3 O’Clock Blues.” Almost overnight, the harmonica was supplanted as the primary solo instrument in blues, as guitarists scrambled to imitate B.B.’s soloing style, especially in Chicago."

"BB King is one of the most influential guitarists in history and can be credited with inventing guitar soling using string bends and vibrato."

"Although he started out on acoustic, it was with Muddy’s transition onto the electric that captivated the music world, with the hulking bluesman using a slide alongside open G tuning on many of his greatest tracks, including ‘Mannish Boy’ and ‘Honey Bee’. Waters was also noted for his immense vibrato, and was famous for rolling up the volume knob prior to his solos to create eardrum shattering levels of distortion to cut through the mix and write himself into history."

"Love's got a hold on me, baby, Feels just like a ball and chain. Now, love's just draggin' me down, baby, yeah, Feels like a ball and chain. I hope there's someone out there who could tell me Why the man I love wanna leave me in so much pain. Yeah, maybe, maybe you could help me, come on, help me!"

"Sittin' down by my window, Honey, lookin' out at the rain. Lord, Lord, Lord, sittin' down by my window, Baby, lookin' out at the rain. Somethin' came along, grabbed a hold of me, And it felt just like a ball and chain. Honey, that's exactly what it felt like, Honey, just dragging me down."

"I got a feeling, I feel so strange, Everything about me seems to have changed. Step by step, I got a brand new walk, I even sound sweeter when I talk."

"I was just sitting here thinkin’ of your kiss and your warm embrace, when the reflection in the glass that I held to my lips now revealed the tears that was on my face."

"When I look out at the people and they look at me and they're smiling, then I know that I'm loved. That is the time when I have no worries, no problems."

"I wanna show that gospel, country, blues, rhythm and blues, jazz, rock ‘n’ roll are all just really one thing. Those are the American music and that is the American culture."

"It feels so good to be happy."

"I would rather, I would rather go blind boy Than to see you walk away from me child, and all. So you see, I love you so much That I don't want to watch you leave me baby. Most of all, I just don't, I just don't want to be free no."

"When the voice and the vision on the inside is more profound, and more clear and loud than all opinions on the outside, you've begun to master your life."

"Well, I like to think about what Louis Armstrong and also Duke Ellington said about music. There'are only two kinds of music: good and bad... And, I would like to think about my music as being good."

"I was criticized by some people for my first album because they said I was taking sacred music. They knew nothing about what I was doing. That was no sacred music; that's music I wrote. I patterned it around voodoo church music, but it wasn't exactly the music of the lyrics of nothing'."

"On his neglect of being a rock star: There’s a certain discipline about being a rock star, and I don’t have it. If I was a rock star, I wouldn’t have let a photographer in here, dressed like this. I’d have been down the hairdressers. You try and get Sting to do something without 15 advisors. These boys are like Russian princes..."

"On his refusal of a set for MTV Unplugged: It’s one of the biggest career mistakes I’ve ever made. I’d be so much more wealthy, because of America. I was offered one of the first ones. But I saw Eric Clapton on it, and it reminded me of Pebble Mill At One. I thought, ‘Oh my God, I don’t want anything to do with this’. Because he’s like God to me. [...] So I turned it down. I should have had an older brother who said, ‘Fucking do it’."

"On the disappearance of "rock star" hysteria surrounding him: I took it rather better than some of them I could tell you about, who had nervous breakdowns because they’re not the king any more. I found fame really annoying. Anything to do with ‘celebrity’, I just don’t get."

"On media consideration to be a reluctant rock star: I'm not a reluctant rock star, I am not one at all. I haven't an ounce of rock star in me. [...] What I despise about the rock star lifestyle is the lack of music in it. The average day is spent travelling to hotels, giving interviews, being nice to people you're told to be nice to, and maybe if you're lucky you might squeeze a bit of music in. The musician's day is music. [...] I am in that unique little club, where I went into music because I love music, not because I wanted to be rich and famous. I've always knocked on the door of the musicians' room, not the rock stars' room. The British press refuses to see the difference between them, mainly because of the capers of people like Phil Collins, a musician who behaves like a rock star. But there are people who love music and have no interest in being a rock star at all."

"On blues in the music industry: You say that word ‘blues’ to anybody in the business – and they fucking run a mile. It’s unbelievable. I had a lot of trouble with Road To Hell. We’d actually recorded the next album – Auberge – before, as an agreement with Warner Brothers. So if Road To Hell didn’t work – and they said it won’t – we would jump straight away to Auberge and forget about it. Of course, the beginning to Road To Hell is a gospel-blues thing. Warner Brothers went, ‘This is going to be over in five minutes’. But I did stand me ground, and it went No.1."

"On modern blues: Me and the modern blues scene, we have difficulty getting on. I sometimes get the feeling that it’s all sixth-form college: ‘Oh, you shouldn’t do that.’ A lot of modern blues is academic. It’s what someone else did. But the blues is one of the biggest examples of evolution. It’s in constant change. You can’t document it and say ‘stop’. It should be free. [...] And has become some kind of technical thing. I’m fed up now of seeing, ‘Oh, this guitarist is faster than that guitarist’ – that’s got nothing to do with the fucking blues. Then you get guys who come along like Allman’s nephew (Derek Trucks): now that’s good. Fuck me. That’s what blues should be: something you haven’t heard before. The other stuff can get a bit like... you know when you fart in the bath? These scales get so fucking fast. Musically, emotionally, it ceases to do anything."

"On his first Ferrari: Yeah. It was instant disappointment. (Pink Floyd drummer) Nick Mason said to me once, ‘Chris, do yourself a favour. Stop trying to make excuses about all this. You’re a sad bastard. It could have been heroin. But it’s red cars.’ And he was right. There was nowhere to drive the fucking thing. Y’know, you put it in your garage. You didn’t want anyone to know you had it. Then you take it out, and you couldn’t find anywhere you could do more than 40 miles an hour. I’m a competent driver. I’ve raced at Monza. But it’s a terrible thing. Blues guitar and motor racing bring out real testosterone in some guys."

"On working at La Passione (1996): Day one, the damage was done. All it was meant to be was one hour of a little boy’s dreams. And I had things I wanted to do with the guitar that hadn’t been done before. Like, there’s one number called "Olive Oil", where I was actually playing slide guitar in the same scale as a saxophone. [...] But then in came millions of executives from America. So in the end, it fell flat on its arse. And it came out the same week that Britpop took off. Blair had just won the election. Oasis. Spice Girls. So something a bit Fellini-ish – about a little boy who loved red cars – went straight over the top. It was like, ‘Well, don’t you have a 335 guitar with a Union Jack on it?’"

"On Charley Patton's voice and music style: I heard this fella, and his voice sounded like my voice. I’d always thought, ‘Well, I could never be a singer with this horrible voice’. I hated it. Absolutely hated it. Still do. But he sounded like the same kind of thing. I didn’t know black American terms: a boll weevil or turnpike blues. But there was an emotion that clicked with me. I became fascinated with gospel blues. I still play more gospel than Chicago. I very rarely go anywhere near that speed, aggression, Clapton thing. Someone once reviewed me, saying the testosterone was missing from my blues solos, because I don’t do Chicago. It’s just alien to me."

"Look out world take a good look What comes down here You must learn this lesson fast And learn it well This ain't no upwardly mobile freeway Oh no, this is the road to Hell"

"Driving in my car I'm driving home for Christmas With a thousand memories I take look at the driver next to me He's just the same Just the same"

"On his experience with streaming, illegal downloading: Every Christmas we got a nice little present off God, you know, with sales of The Best Of… and since it’s gone in to YouTube the shortfall is over 90 per cent because people don’t need to buy the record. They would but you’re offering them Driving Home For Christmas for 32p. [...] You see, I’m lucky - we did very well. I feel sorry for the young Chris Reas who aren’t pop stars but love music, but they don’t have anywhere to go with the music, you know? I mean Derek Trucks, it’s just criminal what’s happened to his potential sales because of what’s happened to the business."

"On the change of the original version of La Passione (1996) by Warner Vision: ...they thought it was a great idea and we started - and more and more people were turning up and I didn’t know who the fuck they were. ‘Oh, that’s Arty somebody, he’s from Warner Vision, he’s flown over from…’ and they’re all yapping away and none of them could get their heads round the idea that it wasn’t meant to be a story. [...] Anyway, egos went all over the place and I lost complete control of it and what I intended it to be hardly went in to the terrible, boring film. And the other thing that really hurt was I did three tracks - which sadly we lost - where, if something mischievous happened, the original idea was to bring in the slide guitar that would start playing a Count Basie routine. All that never happened, it was a shame. [...] They didn’t understand at all, especially the Americans, I mean… I got permission at Ferrari to have their place for a day and there was no film stock left - and I think that sums up the project."

"Fool if you think it's over 'Cause you said goodbye Fool if you think it's over I'll tell you why New born eyes always cry with pain At the first look at the mornin' sun Fool if you think it's over It's just begun"

"On the rock stars: Rock stars don’t talk to each other. They’re too important to talk to another one. They’ve all got their own little palace, their own universe, of which they are the head. So how can they possibly go to somebody else’s universe? They can’t handle it. I will one day write the book that shows just how massive some of these egos are. Because I was a slow success, I was meeting people socially whose records I had at home, who were now talking to me on a what-strings-do-you-use level. And very few of them have not disappointed. [Pink Floyd’s] Dave Gilmour is the only one that [hasn’t disappointed]. That paints everyone else as a cunt. Which they are. But Gilmour is fabulous."

"On the artist, Charley Patton, who changed him: What happened was I was going out on a Saturday night, so I went into my mam’s bedroom, she’s got a double mirror, really kitsch 50s. So I’m in there, doing that, and she’s got an old alarm clock where the radio comes on, but she never learned how to do it properly. And it came on. [...] I remember it was ten past three in the afternoon and it was winter, it was getting dark, and it was when the BBC had just started doing Telstar live things from America. It was some station in Memphis - one of those classic names, ‘RK 51’ or whatever. [...] On it came and there’s this record. The satellite thing was a bit cloudy and it was a 78 record and there was compression on the radio, so it was this strange kind of musical blur with this voice coming through: Charley Patton. [...] On that night I told the bass player of one of the local bands that I’d heard this record and it sounded weird, it sounded like a violin. He said, ‘No, it’s not a violin, it’s a slide guitar.’ I thought, ‘What’s one of them?’"

"There's rain on my window But I'm thinking of you Tears on my pillow But I will come through Josephine I'll send you all my love And every single step, I'll take I'll take for you"

"I found my thrill On Blueberry Hill On Blueberry Hill When I found you."

"Blue Monday how I hate Blue Monday Got to work like a slave all day Here come Tuesday, oh hard Tuesday I'm so tired got no time to play"

"They call, they call me the fat man 'Cause I weight two hundred pounds All the girls they love me 'Cause I know my way around."

"You made me cry, when you said goodbye Ain't that a shame My tears fell like rain Ain't that a shame You're the one to blame"

"I am Joss Stone and I am a vegetarian. I'm a singer, a songwriter, a performer and a human being accepting of all sizes, shapes, colours and species."

"I was born a vegetarian. … I feel there is no need to cause another living thing pain or harm. There are so many other things we can eat. I have never eaten meat in my life, and I’m 5 foot 10 and not exactly wasting away. A wise man once said, ‘Animals are my friends, and I’m not in the habit of eating my friends.’ That is exactly how I feel."

"Hopefully, these characters bring us closer to a sense of self: honest and honored. Icons: Toussaint Louverture to José Martí to lesser known heroes, Atahualpa and Denmark Vesey. We lace our visions with Celia Cruz and Aretha Franklin."

"What made her talent so great was her capacity to live what she sang. Her music was deepened by her connection to the struggles and the triumphs of the African American experience growing up in her father’s church, the community of Detroit, and her awareness of the turmoil of the South. She had a lifelong, unwavering commitment to civil rights and was one of the strongest supporters of the movement. She was our sister and our friend. Whenever I would see her, from time to time, she would always inquire about the well-being of people she met and worked with during the sixties.When she sang, she embodied what we were fighting for, and her music strengthened us. It revived us. When we would be released from jail after a non-violent protest, we might go to a late night club and let the music of Aretha Franklin fill our hearts. She was like a muse whose songs whispered the strength to continue on. Her music gave us a greater sense of determination to never give up or give in, and to keep the faith. She was a wonderful, talented human being. We mourn for Aretha Franklin. We have lost the Queen of Soul."

"You walked in on the sly Scopin' for love In the crowd, I caught your eye You can't hide your stuff.You came to catch You thought I'd be naive and tame You met your match I beat you at your own game."

"Step n' move your hips With a feelin' from side to side Sit yourself down in your car And take a ride.And while you're movin' Rock steady Rock steady baby. Let's call this song exactly what it is (What it is -what it is - what it is)"

"In order to become Aretha Franklin you really have to be able to assess an inheritance and find yourself able to use it."

"Speak your name And I'll feel a thrill. You said I do, And I said I will.I tell you that I'll stay true, And give you just a little time. Wait on me baby, I want you to be all mine. I just get so blue.Since you've been gone, baby (why'd you do it? why'd you have to do it?)"

"R-E-S-P-E-C-T Find out what it means to me R-E-S-P-E-C-T Take care … TCB Sock it to me, Sock it to me, Sock it to me."