The fact I wasn't getting off made me realize that I really had to take a hard look at it and at the type of music that I played, which ranges from ballads to country type stuff to rock and rhythm 'n' blues. It takes in a wider spectrum.
The music I really like to get off on is the old rhythm 'n' blues and rock 'n' roll stuff... that's what I really dig. And I also dig to sing ballads as well. And I also dig writing my own songs. I was just trying to find a way of integrating the whole thing, taking a look at the total picture.
It's the same thing as a primitive of Africans, Indians, nomads or whatever - when they start getting up and doing their ritual and doing the dance, it's just what's coming through. It's the spirit. Rock 'n' roll is still primitive.
We might think that we're really intellectual and we're going to check out the library to research the meaning every time somebody puts out a new record. It's still primitive stuff. It's the same now as it was at the beginning. It's no different now. Rock 'n' roll is spirit music-it's just coming through people.
When you start to analyze [rock 'n' roll], it's only because you don't understand it. You're just not connecting with it once you have to start analyzing it.
We're [with Robbie Robertson ] jazz musicians. The context may be rock 'n' roll but it's still jazz. It's jazz and that means improvization...you play a tune the way it feels and you play it differently every time. It can never be the same.
Definitely Muddy Waters has been a prime influence for anybody who's ever done anything rock 'n' roll.
I just can't stand jazz/rock. I think it's the worst thing that's come down the river yet.
I just can't stand it [jazz/rock]. It just doesn't sound right to me. It doesn't hit me...it doesn't get me...it just doesn't grab me.
The job of the jazz people is to take it as far as it will go and that's what they're doing. But in the process of taking it out there, there has to be some times when they're not getting it right. It all depends on what you dig. I personally don't think the fusion of jazz with the heaviness of rock is working.
I'm talking about noise rock. I don't think that noise rock element belongs in jazz. It's not for me anyway; it just doesn't fit.
I'd much prefer to hear somebody like Ed Thigpen [drummer with New York session group Stuff, and featured on innumerable hits] take a solo. I mean, that's what it is. I'd much rather hear that than the jazz/rock thing because it's blowing an aspect of jazz that I really like...the level where you can snap your fingers to it and you can groove to it. You can do anything to it.
Jazz goes into folk music, into rock music. Jazz is in practically everything except classical music where they're reading the same music all the time, the same way, the same tempo every night.
When I first started drinking, everybody was doing it. That was before they discovered marijuana and all that. It was the late 50s, early 60s - it was the beginnings of the rock 'n' roll era. The main drink was like wine. And even that was a romantic throwback to something.
My responsibility is to fulfil what that natural thing is. The thing that I dislike about pop rock Top 40 music is that it's not natural.
I can see more naturalness in basic blues, basic R & B, basic rock 'n' roll.
Rock is gut level and it just gets to people. I think there's far too much emphasis on intellectualization, especially in rock 'n' roll which is a primitive form.
[Rock 'n' roll] is still a primitive form and there's no way you can get away from that. It's one of the primitive art forms and that's why it's good and that's why it's lasted...you know, it hasn't become sophisticated and it's not in the opera house.
[Rock 'n' roll] music started out with some cat banging a log with a couple of pieces of stick. He sent a message across a river and although the cat on the other side receiving the message didn't know the exact words, he did understand basically something about what was being communicated.
If you want to put your rock 'n' roll into mythology, [A Period of Transition] is from the Daddy Cool school.
We know what we are doing by now.We seem to make an album every 18 months or so and I think every band should do that. We're not writing "Sgt. Pepper" every time; we are writing straight ahead rock n' roll.
How many times can a rock star go over the top on drugs? How many times can a rock star be unfaithful to his old lady? It is really fu**ing boring, and that is what they do over and over and over. They just print the same sh*t.
Music had been going on a long time before that. You have to remember that before rock n' roll there were a bunch of jazz musicians all doing heroin. That sh*t has been around a long time.
Maybe I'm not giving people in the audience enough credit for actually thinking about what they're singing, but it's awesome when a rock'n'roll groove and melody can transport something from Barometer Rising or whatever [ed: it's from 1958's The Watch That Ends the Night] into [Toronto's] Molson Ampitheatre and have people just owning it.
Gord [Downie] does so much Waterkeeper stuff. They were involved in [protesting clearcuts at] Clayoquot Sound [in the early '90s]. It's hard sometimes to use the capital you have as a beloved rock band and put it to various causes, especially when they're a bit more controversial, like energy issues.
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