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Bluegrass is the other side of heavy metal. Both are musical forms steeped in tradition. They are the two forms of music that visually and audibly have not changed in decades. People in their respective fields still dress like Bill Monroe and Ronnie James Dio. Both forms have a traditional instrumental lineup and a parochial adherence to form.

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My definition of Blues is that it's a musical form which is very disciplined and structured coupled with a state of mind, and you can have either of those things but it's the two together that make it what it is. And you need to be a student for one, and a human being for the other, but those things alone don't do it.

"They said, "You have a blue guitar, you do not play things as they are." The man replied, "Things as they are are changed upon the blue guitar.

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Why is some music so much deeper and more beautiful than other music? It is because form, in music, is expressive–expressive to some strange subconscious regions of our minds. The sounds of music do not refer to serfs or city-states, but they do trigger clouds of emotion in our innermost selves; in that sense musical meaning IS dependent on intangible links from symbols to things in the world–those 'things', in this case, being secret software structures in our minds.

the same thing happened when I first heard Big Bill Broonzy. I saw a clip of him on TV, playing in a nightclub, lit by the light from a single lightbulb, swinging in its shade from the ceiling, creating an eerie lighting effect. The tune he was playing was called “Hey Hey,” and it knocked me out. It’s a complicated guitar piece, full of blue notes, which are what you get by splitting a major and a minor note. You usually start with the minor and then bend the note up toward the major, so it’s somewhere between the two. Indian and Gypsy music also use this kind of note bending. When I first heard Big Bill and, later, Robert Johnson, I became convinced that all rock ’n’ roll — and pop music too, for that matter — had sprung from this root.

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The blues is an impulse to keep the painful details and episodes of a brutal experience alive in one's aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy but by squeezing from it a near-tragic, near-comic lyricism. As a form, the blues is an autobiographical chronicle of personal catastrophe expressed lyrically.

U2’s music was never really rock ’n’ roll. Under its contemporary skin it’s opera — a big music, big emotions unlocked in the pop music of the day. A tenor out front who won’t accept he’s a baritone. A small man singing giant songs. Wailing, keening, trying to explain the unexplainable. Trying to release himself and anyone who will listen from the prison of a human experience that cannot explain grief.

I'm a bluesman moving through a blues-soaked America, a blues-soaked world, a planet where catastrophe and celebration- joy and pain sit side by side. The blues started off in some field, some plantation, in some mind, in some imagination, in some heart. The blues blew over to the next plantation, and then the next state. The blues went south to north, got electrified and even sanctified. The blues got mixed up with jazz and gospel and rock and roll.

A lot of people ask me where music is going today. I think it's going in short phrases. If you listen, anybody with an ear can hear that. Music is always changing. It changes because of the times and the technology that's available, the material that things are made of, like plastic cars instead of steel. So when you hear an accident today it sounds different, not all the metal colliding like it was in the forties and fifties. Musicians pick up sounds and incorporate that into their playing, so the music that they make will be different.

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