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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… - Chris Rea
" "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.
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About Chris Rea
Christopher Anton Rea (born 4 March 1951) is an English singer-songwriter, guitarist and record producer.
Also Known As
Birth Name:
Christopher Anton Rea
Alternative Names:
Christopher Rea
•
Benny Santini
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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 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?’
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