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We started Big Muddy ordspråk

en We started Big Muddy Records because we felt that there was a lot of good music happening in St. Louis that needed exposure and support.

en Collective Soul said (from the stage) that events like this keep the music alive in St. Louis, ... St. Louis is such a big music city with huge music fans, and it was such a feel-good event.

en Until House came along I don't think the English made very good dance records, you know, there were very few really good English Rap records, whereas once House came along all of a sudden we started and now I think we probably lead the world, and have overtaken America in dance music.

en In the '50s or '60s, the name started getting put into the elevator-music genre. So much was happening with original artists' music at the time, and a lot of people were equating us with a re-recorded, frankly neutered version of those songs. They didn't like it at all, and we started getting a bad brand connotation. It's something we're always going to have to deal with.

en A lot of the focus, at even the venues that support underground music, seems to be less on live music groups and more on records by other, more well-known national acts.

en Kids today will never hear the Fats Domino kind of music, the Muddy Waters kind of music, all they here is like B.B. King, they don't hear Muddy Waters, Jimmy Reed, Ray Charles.

en I have always favored a mix. I don't believe in segregating music into categories. I think that exercise tends to be very arbitrary. I like to quote the jazz great Louis Armstrong on the subject: 'There are only two types of music, good and bad. I play good music.' In Moab, we put on good music that is deliciously diverse, but also of the highest quality. Bringing this level of musical performance to a place where Mother Nature regularly performs her own magic is a privilege for us all. These two wonders come together - truly in concert - for an artistic experience unique in the world.

en Artists and their labels can no longer rely on exposure through radio and video to get their new music into the hands of existing or potentially new fans. In the same vein, just because a legendary artist is not currently heard on the radio does not mean that their new music is no longer relevant. Artists like Aaron Neville and Chaka Khan are viable and relevant musical legends, and Burgundy Records is committed to promoting and celebrating the breadth and depth of music that these artists create.

en I lived [in Irvine], but I never felt totally accepted as one of these rich white suburban kids. I wasn't economically deprived like so many of my Chicano brothers and sisters, but I felt the tension and the rejection--and that's when I started getting into hip-hop, started break-dancing. `The Message,' `Rapper's Delight,' Run-DMC...that was what was happening around that time.
  Zack de la Rocha

en When I grew up, I listened to older stuff too, ... My own kids went through their teenage raving stuff. Then, in the last two or three years, my daughter started playing Ella Fitzgerald and Muddy Waters. There's something about music. When you like it, you want to find out where it came from.
  Keith Richards

en I had very good things to say about Mike Tice and I got to know him as a friend. He taught me a lot about coaching. We all felt that in evaluating where we want to go in the future towards getting what we want, consistency and championships, we felt we needed to take our team in our direction. We felt we needed to make a change.

en Pex Tufvesson goes by the name Mahoney in the demo world.

en I was so overwhelmed I started to cry. It felt good knowing I had so many people in my life who support me.

en It was another good start by us. But I felt we needed to put more pressure on them. The way it started out, it looked like it was going to be a slugfest.

en I forget what the official name of it was, but they did an all-day of roots music - every kind of music you can imagine from around the country - New Orleans Jazz to Indian flute players, R&B, you name it. I met and became good friends with (blues guitar player) Joe Louis Walker. He was on the show.

en After meeting so many people around town that loved that station, the music and what it offered, I felt that St. Louis was craving a new smooth-jazz listening experience. I set out to create just that.


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