Quotes of All Topics . Occasions . Authors
Let me purify my thoughts and words and deeds that I may be a vehicle for thee.
I didn't know what some of the stuff on Astral Weeks was about until years later.
I understood jazz, I understood how it worked. That's what I apply to everything.
Jackie Wilson said it was Reet-Petite, kind of love you got knock me off my feet.
It's all complete instinct and intuition, and that's extremely difficult to teach.
Love of the simple is all that I need, I've no time for schism or lovers of greed.
As a developing musician, skiffle became a platform for me to start playing music.
There is no black-and-white situation. It's all part of life. Highs, lows, middles.
You can't stop us on the road to freedom, you can't stop us cause our eyes can see.
I have some intellectual-type pursuits, like studying philosophy and stuff like that.
It's real difficult to pin down directions. I just want to do collaboration-tape stuff.
No guru, no method, no teacher, just you and I and nature, and the father in the garden.
Common one, my illuminated one, oh my high in the art of suffering. Take a walk with me.
You learn to read the audiences after a while, and there are all different kinds of gigs.
There's a realization that you have to do something but you just can't do it all the time.
In order to win you must be prepared to lose sometime. And leave one or two cards showing.
I just can't stand jazz/rock. I think it's the worst thing that's come down the river yet.
Once you start to analyze it [Joyous Sound], you've completely lost it. That one just came.
Meet them halfway with love, peace, and persuasion, and expect them to rise for the occasion.
Skiffle was a name that was attached to what was, in essence, American folk music with a beat.
I always record far more than I can use. There's probably twice as much recorded as comes out.
I learnt from Armstrong on the early recordings that you never sang a song the same way twice.
In the gentle evening freeze, by the whispering shady trees I will find sanctuary in the Lord.
The first piece of music that captured my imagination was probably Ray Charles Live At Newport.
My ambition when I started out was to play two or three gigs a week. And that's what I'm doing.
Memories, how they linger in the twilight and in the wee small hours sometimes just before dawn.
Go up to the mountain, go up to the glen, where silence will touch you, and heartbreak will mend.
[Jazz musicians] couldn't cut rock. I had to be more limited and specific about what I was doing.
Spiritual hunger and spiritual thirst But you got to change it On the inside first To be satisfied
I was all caught up with identifying with certain things. They just weren't very stimulating things.
See the man on the TV with a phony smile. Bring you up, bring you down, he can turn your head around.
Definitely Muddy Waters has been a prime influence for anybody who's ever done anything rock 'n' roll.
I never paid attention to what was contemporary or what was commercial, it didn't mean anything to me.
I think Paul McGuinness and U2 created the Irish music industry. It certainly wasn't there before that.
I'd found that what I wrote and put out on records somehow was not fitting into how I perform on stage.
I have to accept the fact that I was putting out records that reviewers were going to get an image from.
I had my eyes closed in the dark, I sighed a million sighs, I told a million lies, to myself, to myself.
You have to understand a bit about the poetry of the blues to know where the references are coming from.
A lot of people who were writing when I came through originally as a singer-songwriter have disappeared.
You can't stay the same. If you're a musician and a singer, you have to change, that's the way it works.
Enlightenment says the world is nothing Nothing but a dream, everything's an illusion And nothing is real.
I do see value in music criticism. Most of the criticism I have received over the years has been very good.
Hark, now hear the sailors cry, smell the sea, and feel the sky let your soul & spirit fly, into the mystic.
The theory is that you don't play a song the same way twice because it's jazz. That's where I'm coming from.
If you want to put your rock 'n' roll into mythology, [A Period of Transition] is from the Daddy Cool school.
I'm not a rock singer and I don't want to be a rock singer. I'm not interested. It doesn't seem to get across.
I'm still basically the same as I always was. I still listen to the same people. That's where I'm coming from.
I'd been performing in bands since I was 12 which represented, at that point, about 16 years of playing music.
All the girls walk by dressed up for each other, and the boys do the boogie woogie on the corner of the street.
You can put out an album and it could be totally out of the window as far as what you want to do performance-wise.