I always loved Sam Cooke, because he seemed very versatile. He sang gospel, soul, blues, pop music.
I'm no ethnomusicologist. There is a connection between the five-note scale used both in traditional Chinese music and the blues, but I don't really understand it. All I know is, whenever I play with Chinese musicians, we seem to belong to the same musical gene pool.
I use rock and jazz and blues rhythms because I love that music. I hope my poetry has a relationship with good-time rock'n roll.
Free music, to me, is music without boundaries. It's music that... says you don't have to play a blues in three chord change. See what I'm saying? Music that can go from any range.
Once you discover that you can, then you must. And it's not easy. You have to take direct steps. You really have to count your blessings and you have to make a decided effort to not get seduced by the blues.
Listen, man: I am not the industrial godfather, king, whatever. I don't relish that title. I don't like it. I think it's limiting. I do country, I do blues. I don't just go straight.
I'm done with industrial. Seriously, my iPod collection at home has no industrial music on it; it's strictly jazz, blues and country.
He's written some great songs. I thought that 'Blues Man' was a perfect song for me to do as a tribute.
The British ballads became a new kind of form in their hand. And out of them came the blues, a new kind of song of commentary and satire, a song form which, after all, has become the main musical form of the whole human species.
The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric's vocals. There's never any real problem fitting guitar and organ together.