The Faces do not, as some have recently alleged, play badly. They are more than competent, especially at creating a mid-Sixties Rolling Stones-styled groove, as their excellent version of 'Memphis' proves.
I feel a lot of cities are like, you go and you are trying to do your art, and there are so many other artists there who are so brilliant. And it's kind of like they stomp on the scene, and they are like, "You're not already Picasso? Get the hell out of here!" And Memphis is like, "Well, you'll get there one day!"
When Lonnie Mack came out with the guitar instrumental "Memphis" I thought, Oh God, finally somebody we guitar players can relate to !
All the really great records or people who made them somehow came from Memphis or Louisiana or somewhere along the Mississippi River...And singers like Howlin' Wolf and Muddy Waters gave me the feeling that they were right there, standing by the river.
All inquiry into antiquity, all curiosity respecting the Pyramids, the excavated cities, Stonehenge, the Ohio Circles, Mexico, Memphis,--is the desire to do away this wild, savage, and preposterous There and Then, and introduce in its place the Here and Now.
It's funny, when you're a child you think time will never go by, but when you hit about twenty, time passes like you're on the fast train to Memphis. I guess life just slips up on everybody. It sure did on me.
I spent a few years here in Memphis, in the late '70s and early '80s, where I was studying a lot of country blues players and their styles. So it seems like every record I'll do, I will appropriate these blues styles that I remember.
I'd been to Memphis before, but we stayed out of Memphis early on in the late 70s for obvious reasons. People were very sensitive about Elvis Presley, and my stage name obviously would be provocative to some people in that area at that time.
A friend of mine took me to Memphis advised me that I should get in the musicians' union. He gave me a set of drums and said, Stay on the job, son.
She would go to Memphis and this was after our divorce. And I would send her to Memphis to be with him.
Most studios in Memphis had a house set of drums; the drummers just brought their own sticks.
I get called 'Memphis Eve,' but my first name is Eve. I know Memphis is in there somewhere, but on my passport I'm 'Eve Sunny Day Hewson.
The first time I saw my wife, Marjorie, I was doing stand-up in Memphis, and she was sitting in the front row. Afterward, I walked up and said, "Ma'am, I'm going to marry you one day". And 15 years later, I did.
Museums do not share their collections with other museums unless they get something in exchange. The Metropolitan will deal with the Louvre, but will they send their stuff to Memphis? No.
Life don’t come to you, Memphis. You gotta take it. We have to take it. Because ain’t nobody handing it to us.
I'm singing the way that I love to sing, which is like old soul, like old Al Green. I grew up about an hour from Memphis. So all that music that I grew up with - the Stax music and early rhythm n' blues - I'm doing that. I'm actually getting out from behind my guitar and I'm singing.
[William] Eggleston's photographs look like they were taken by a Martian who lost the ticket for his flight home and ended up working at a gun shop in a small town near Memphis. On the weekend he searches for the ticket - it must be somewhere - with a haphazard thoroughness that confounds established methods of investigation.
For me, Memphis has always been a city that holds a great deal of meaning and also leads me to a lot of thinking. Besides Sun Studio, which helped put rock n' roll on the map all over the world, the legendary Stax Studio also called Memphis home.
I remember one night in Memphis, I'd come out of a blackout, and I didn't know where I was. I'm feeling through the darkness - I was asleep in the middle of a freeway. I went up to this car in the darkness, and it was a cop car.
Memphis—it’s just a bird. Birds fly around, brother. It’s what they do. It’s not following you, and it’s not a sign. Unless you really did give it candy and flowers, in which case you are one strange brother.
The nation is sick; trouble is in the land, confusion all around...But I know, somehow, that only when it is dark enough can you see the stars. And I see God working in this period of the twentieth century. Something is happening in our world. The masses of people are rising up. And wherever they are assembled today, whether they are in Johannesburg, South Africa; Nairobi, Kenya; Accra, Ghana; New York City; Atlanta, Georgia; Jackson, Mississippi; or Memphis, Tennessee, the cry is always the same: 'We want to be free.'
After my early days of being a passionate young Elvis fan, Chuck Berry, Little Richard, etc. I got interested in Ray Charles and Ella Fitzgerald. Then I got turned on to the blues. I realized how important it was to our music in England at the time. Everyone was into the blues. Then you start looking at the different kinds of blues, and you follow the journey backwards from Chicago to earlier times back down to the Delta to the Memphis Blues.
God chose Memphis as the place that I will continue my career.
When I talk about music in Memphis, it's a place you can go if you are a beginning artist or anywhere in your career, and you can incubate.
Big train from Memphis, now it's gone gone gone, gone gone gone. Like no one before, he let out a roar, and I just had to tag along.
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