Guitar Quotes - Page 35

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Sometimes I'll hear a certain approach that kinda cathes my ear, like „It's kinda cool what that guy's doing there", or maybe an effect that somebody's using, or a guitar sound, or something that kinda makes me open up. But the funny thing is i realise over time how sort of traditional i am.

I'm not too picky about guitars. I love to collect them, mostly oddballs, but I'm not married to any brand or model. Whatever guitar has the best character for the song is the one I want to use, because if you've got a style, you're going to sound like yourself no matter what guitar you play.

In 1972, I recorded Gumbo, an album that was both a tribute to and my interpretation of the music I had grown up with in New Orleans in the 1940s and 1950s. I tried to keep a lot of the little changes that were characteristic of New Orleans, while working my own funknology on piano and guitar.

The guitar's still around me. I slip it off and put it down. I want to feel him. To feel his breath on my neck. The warmth of his skin. To feel something other than sadness. Hold me, I tell him silently. Hold me here. To this place. This life. Make me want you. Want this. Want something. Please

I looked at myself, and I just said, 'Well, you know, I can sing, but I'm not the greatest singer in the world. I can play guitar very well, but I'm not the greatest guitar player in the world.' So I said, 'Well, if I'm going to project an individuality, it's going to have to be in my writing.'

The Metallica film was like this incredible life experience where I learned the most through guys that stereotypically you would think couldn't offer much to you. That's what I love about the film: It explodes your stereotype of them - they're not just a bunch of lugheads banging on the guitar.

I started writing little short stories and poems as soon as I learned to read and write. I think I was six years old. And then when I got to be eleven, twelve, and into my teens, I was just listening to records all the time, and I got a guitar. I started to take guitar lessons when I was twelve.

Scotty Moore plays one of the first really amazing riffs in rock history on Heartbreak Hotel with Elvis Presley ... it was dangerous, it scared everybodys parents, which was part of the attraction then - as it still is now... it totally blindsided me and made me want to get a guitar and do that.

I looked at myself, and I just said, well, you know, I can sing but I'm not the greatest singer in the world. I can play guitar very well, but I'm not the greatest guitar player in the world... And so I said, well, if I'm going to project an individuality, it's going to have to be in my writing.

Claude Debussy defined the guitar as an expressive harpsicord. I believe that is the best definition ever given of the Spanish guitar. This phrase is the starting point for my Concierto de Aranjuez Our guitar is the only survivor of the rich and anarchic instrumental wildlife of the Middle Ages.

I still believe in the old-school show thing no frills, no fancy equipment just a guitar and some amps and some drums, and throw it out there and do it the best you can in a live sense, because it's easy to make records. But the live show is where you really show if you've got the balls to do it.

When I moved to New York to act I was no good at working restaurants - hosting, waiting, bussing, dishwashing - I wasnt good at any aspect. But I did have a guitar. So I would sing Me and Julio Down by the Schoolyard, but you would only hear the chorus because the train comes by every 30 seconds.

I grew up in a really rural town, Stratford, Ontario, with 30,000 people. There's a big festival thrown in the town. A lot of people travel from all over the world to see it, and growing up, I actually used to busk on the street. I'd play my guitar, sing, and people would throw money in the case.

Rock 'n' roll guitar came from blues guitar. It was the blues guys who first turned the amp up and started whacking on the Stratocaster and a Les Paul. It wasn't the country guys and it wasn't the white guys; it was the Blues guys. That's where the real fire is in all of this rock and roll music.

For us Rock and Roll Fantasy Camp is bigger than the music. It is very much an experience that brings a lot of skills and discoveries about yourself together. In that respect, it also enables you to learn that being in a band is a lot tougher than sitting around and playing guitar in your bedroom.

If you play "I Don't Want To Know" by Fleetwood Mac loud enough -- you can hear Lindsey Buckingham's fingers sliding down the strings of his acoustic guitar. ...And we were convinced that this was the definitive illustration of what we both loved about music; we loved hearing the INSIDE of a song.

When you think of blues, all you think about is crying guitar like B.B. King's guitar. You think about someone crying that their woman's gone. And how bad life is and all that. Why can't it be something happy with the blues? Why can't it have a hip-hop beat to which you can do the dances of today?

I got my first instrument for Christmas when I was three or four years old. My parents got me a mandolin because it was the only instrument that would fit me because I was so small. I went straight from that into the drums when I was six, and then I started playing guitar when I was seven or eight.

I play piano and guitar and I do write my own stuff so to a certain extent I know what I want to do in regards to music. But I'm still finding out what kind of music is my favourite kind to listen to, never mind do myself so I've got a lot of time to find out myself and develop myself as an artist.

I miss the romance. I keep saying this over and over again, but dance follows music. And if the accent today is percussion and rhythm and loudness, then that is the way the dance numbers will be. But it is pretty hard on romance with seven guitars, three drums, and no melody instruments in the band.

I honestly believe that you have to be able to play the guitar hard if you want to be able to get the whole spectrum of tones out of it. Since I normally play so hard, when I start picking a bit softer my tone changes completely, and that's really useful sometimes for creating a more laid-back feel.

And a lot of the technique and the little T-Bone phrases that define his style, Chuck Berry, when he rearranged the beat, they became rock 'n roll guitar licks. So in essence, T-Bone was not only the first electric blues guitar player, but he was the first electric rock 'n roll guitar player, really.

The expertise displayed by each musician is jaw-dropping and it's matched by their sensitivity and taste... Lizzy Hoyt displays equal mastery of the fiddle, harp and guitar, complemented by an otherworldly voice. To top it off, she comes across as a truly natural and relaxed, people loving performer.

I never really trained to be a musician, but I've been playing guitar since I was around, like, 13 years old. For me, the guitar has always been the instrument that I've played. I play a little piano. I taught myself everything by ear. I don't read music at all, which has not really been a hindrance.

Maybe I feel like I'm writing songs that don't need to be saved or made more interesting by endless overdubs and studio tricks...maybe - remember, where I am with songwriting I have never been before - sparkly guitars and overdubs I've done (and will do again - see instrumental record in above answer)

How we approached this was I wanted this to be personal in a way. It's not a big, epic Hollywood score but really personal and intimate, and we thought guitar would be the perfect instrument for him because he's young and he has an undying spirit and all that stuff and we went on that feeling totally.

I wanted to be an actor, an astrologer, an astronaut; a lot of different things were going through my mind. But I also wanted to play guitar. I mentioned to my parents that I wanted an electric guitar for Christmas. They got me one! I sat there all Christmas morning making a lot of loud horrible noise.

I was bought an electric guitar when I was 12, but my guitar teacher beat me up. I didn't like guitar lessons... My teacher was obviously bored giving me lessons, and one day I offered him a liquorice toffee, but he didn't answer. So I threw it at him, it hit him in the face, and he sort of beat me up.

I saw the Bangles before I was in a band. I really liked their rhythm. That was right when I was trying to learn how to play guitar. I was really frustrated because I couldn't strum, and then I saw Susannah Hoffs do this cool strum on a song, and it was my goal after that to learn how to do that strum.

Marylata [ Elton] introduced me to Hans Zimmer. Hans tapped me [to] work on songs for DreamWorks' animated features. I arranged Elton John's opening main title for The Road to El Dorado, I played guitars on Shrek for Harry Gregson-Williams and John Powell, I co-produced "I Can See Clearly Now" for Antz.

I had to jump around in the arts for a while just to survive. I earned a little money here and there, playing the guitar at union meetings, functions. I sold some science-fiction stories. I knew there was absolutely no question of me not being connected with the arts, but I couldn't find any acting jobs.

You just make different music on a computer. And you can make wonderful music on a computer, but don't pretend that the machinery is transparent. It makes as much difference to what you're doing as it does if you play an acoustic guitar as opposed to a kettledrum. You're not going to make the same music.

The creation and destruction of harmonic and 'statistical' tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consonant and 'regular' throughout is, for me, equivalent to watching a movie with only 'good guys' in it, or eating cottage cheese.

It seemed so wimpy at first when I started to play [guitar]. So I started playing loud with lots of effects just to try to mimic the dynamic [of the drums]. Drums seemed a lot more expressive. [I was] Trying to emulate the feeling of playing the drums on the guitar - I guess that's why I played it so loud.

What I enjoy about the live experience is getting onstage, being handed a guitar that is in tune, taking it off mute, knowing that the very moment I want to play a note, I can play it. People are waiting on me and I'm waiting on me, and I have no idea what I'm going to play. That's the biggest joy in life.

If you want to play something that you hear, you need to listen with your mind's eye. You've heard of the mind's eye, right? Your mind has an ear too. It's a kind of listening, but it's not using your ears to listen. It's listening with your inner ear, and that's what you want to translate onto the guitar.

My goal from the very beginning was just to write good songs that don't require any production to be felt or understood. I wanted to be able to sit in a room with a guitar and play the song from beginning to end and have it be as impactful as if you heard the studio version with all the bells and whistles.

In a time when everything can be next day and ordered and put on credit and paid for, music to me is promise, all promise, very little realization. It's the promise of walking into a room with a guitar and not being sure you will leave with an idea that will take, not being sure it won't slip away from you.

Inspiration is a really hard thing to describe, but it's something that triggers your brain, like the first time I heard a certain guitar player that I loved or the first time that I saw a monster or the first time that I saw anything that really was an epiphany for me. It just stays with you your whole life.

So I go to the studio, and just say, 'Hi Paul, it's me, Rusty.' I think I kept it together pretty well, although I was pretty nervous. And before the day is over I'm playing guitar, and there's Paul McCartney over there, playing his Hofner bass and singing. All I can do is think, 'This life is so so bizarre.'

These days, my main guitar amps have been Magnatone. They're beautiful. Magnatones have actual tremolo, which I recently learned about guitar amps. Often what guitar amps call vibrato is really just a volume Up and Down. But Magnatone has a true vibrato, which is pitch bending. And so, it's just a lush sound.

However, it [singing] wasn't until halfway through high school that it dawned on me that singing wasn't just a hobby, it was something I had a growing need for in my life, and that was about when I adopted the neglected guitar I found under our piano and started singing about all the things I could never say.

I do write. I actually do want to start my music as well. My sister and I are starting a band. I've been playing a guitar for nine years, and she plays piano, and we sing together. We're going to start up something soon. I mostly am writing songs right now actually, but I would love to write a script someday.

The best way to do that is to pick up a new instrument or an instrument that you don't typically write on and see where it takes you. Whether it's using an acoustic guitar, or piano, or electronics as tools, all of these lead to creating different types of songs and I used all of these methods for this record.

The records that I like, they have life and warmth and soul in them. Like the slap back on Scotty Moore's guitar on 'Mystery Train.' You're not gonna get that in a computer. You're gonna want a live room, you're gonna wanna bounce the tape, you're gonna want real musicians, in a room, vibin' off of each other.

When I'm home on a break, I lock myself in my room and play guitar. After two or three hours, I start getting into this total meditation. It's a feeling few people experience, and that's usually when I come up with weird stuff. It just flows. I can't force myself. I don't sit down and say I've got to practice.

I play guitar, the ukulele and the piano. I grew up on a mountain in Tennessee and we had The Mountain Opry, where anyone could just get up on stage to perform. It was just about the soul and heart of music. My upbringing was less about being great and more about just doing what you love. It was always for joy.

My body is damaged from music in two ways. I have a red irritation in my stomach. It's psychosomatic, caused by all the anger and the screaming. I have scoliosis, where the curvature of your spine is bent, and the weight of my guitar has made it worse. I'm always in pain, and that adds to the anger in our music.

You can approach the guitar like a voice. That's the best way of looking at it. If you are singing, you can't keep going a million miles an hour. You can only fit so many syllables in, so think about what you can sing through your guitar. Players like David Gilmour and Neal Schon are great at that kind of thing.

Listen, the story of the United States is this: One kid, without anything, walks out of his house, down the road, with nothing but a guitar and conquers the world. And we've done that again, and again, and again – Johnny Cash, Hank Williams, Bob Dylan, Bruce Springsteen, Jimmy Rogers, Howlin' Wolf, Muddy Waters.

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