You should play with real musicians; the best music comes from real people interacting with each other.
— John Fogerty
There's just not a lot of guys around playing like that these days; a lot of steel players are plugging into stomp boxes, trying to sound like Jeff Beck on a steel guitar.
The ones I have got great necks; of course, all of the Fenders from that era are incredible.
Now that I'm older, I like almost anything that's done well, even surf music and instrumentals; I really enjoyed the interviews with the Ventures in your magazine.
I've also become much more the musician I've always wanted to be.
I'm like a twenty-two-year-old kid in a new band trying to get noticed and break through, because the vast majority of people have never seen me play live.
I went pretty much for one tone, and I knew at that time that I wanted to play a Rickenbacker.
I stuck with that size because I could bend the strings so well, and somewhere along the line I must have gotten it into my mind that I had small hands, so I was thinking I'd never be able to play a full-scale guitar, but I also felt like I was cheating or cutting corners.
Even though I have often recorded alone, I still feel the best music is made by musicians playing off each other.
When I made Blue Moon Swamp, there was a lot of trial and error; I was trying to find people who would be simpatico with my style, and with what I had in mind for the album.
The Telecaster doesn't really sound that good for the kind of rock and roll that a lot of people played.
That song has the full extent of my mandolin abilities; I'm not a good mandolin player at all.
No, but I've always felt that with true talent, and a commitment to hard work, it is possible to achieve an enduring respect and appreciation. In other words, I don't take my fans for granted.
I'm now comfortable playing a lot of the old songs, and I've gotten out a lot of the old equipment.
I wrote that song for my wife, and it's what some guy who's sitting under a tree would be singing to the woman of his life, telling her how wonderful she is. To me, that's more lasting than something that sounds like it belongs on a movie soundtrack.
I usually destroy unreleased material. It has a way of coming back to haunt you.
I don't know that all the demons have been beaten, but I'm very, very proud of those songs.
But I think beautiful is simple and elegant, like a ballad with simple harmony.
Washburn's an old American name, but this one was assembled overseas.
The only sliding I did was on the kind of instrument that you put on your lap; no Spanish electrics.
On Eye of the Zombie, I had so-called studio musicians.
I've studied a lot of great people over the years - Pete Seeger, James Brown - and tried to incorporate elements that I've admired, though I can't say I dance like James.
I'm much more energetic now; you might say live performance is my mission.
I work hard at that, but the fact that there are a lot of good songs means there are also a lot of really bad songs I've written that you never hear.
I thought what I was good at doing was playing real simple guitar licks, since I'd cut my teeth on what Duane Eddy was doing; licks that were simple but had staying power.
Even though James Burton was my idol, I didn't think I could carry his shoes back then.
And I now think that Stratocasters and Telecasters are way cool.
