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[Being alcoholic] you're either too high or you're too low. I mean, I was always looking for the bell to ring. I was always waiting for that bell.
Van Morrison
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Van Morrison
Age: 79
Born: 1945
Born: August 31
Composer
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George Morrison
George Ivan Morrison
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Van the Man
Always
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More quotes by Van Morrison
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.
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I shall drive my chariot down your street and cry hey it's me.
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I think Paul McGuinness and U2 created the Irish music industry. It certainly wasn't there before that.
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The Eternal Kansas City song came from a dream sequence. It was actually kind of weird. I had this dream about a Kansas City type of thing while I was up at Stevie Winwood's place near Cheltenham, in Britain. I went into this small town and I was walking along and this dream thing was still in my head.
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The first piece of music that captured my imagination was probably Ray Charles Live At Newport.
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The point of jazz is, you do something and then you go on.
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When I think of that dear rugged cross where the dear Saviour gave his all... When I feel like I'm on my last go round, see me through.
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If you're putting somebody down, you're doing it because you're just seeing a part of yourself that you don't like. That's all that is.
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I like [George] Benson because I just like it. I like that kind of style. I don't like the broken up kind of style. I don't like where you play for 16 bars and then break it up into what somebody's version of what birds twittering sounds like, or what the sound of the city is, or what New York sounds like.
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The blues - there's no black and white - it's the truth.
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I don't like to wonder about it-I just like to do it. That's what I mean about the image stuff and all that. There's far too much emphasis being placed on that kind of stuff... the whole emphasis on what does it mean? Everybody has their own particular vision.
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What excited me when I first came into it was the performing aspect and doing blues-oriented material, rock/blues oriented stuff, basic stuff, basic what they call rock 'n' roll.
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I realized that what I was looking for was doing collaborations with other people - people who can play a ballad, rock, jazz. I was looking for more co-op type things than what I had been doing, which had been completely my own trip.
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The whole trip that happened in the late 60s and 70s was kind of a throwback to a lot of folk styles. I got into it as well 'cause I started with the folk styles.
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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.
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I never paid attention to what was contemporary or what was commercial, it didn't mean anything to me.
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Some thoughts went through my head about recording some stuff that had influenced me earlier in my career like blues and early rock. But it didn't seem to really make sense at that point - it might have been taken the wrong way. A lot of people already had been into that trip.
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I haven't really heard much that's impressed me the way it was when I first heard Ray Charles or somebody like that. That was really an impression.
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I had my eyes closed in the dark, I sighed a million sighs, I told a million lies, to myself, to myself.
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I think I opened up an area with Astral Weeks that hit a lot of peoples' nerves. But you can't really say that they're my favorite songs.
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