I put a metronome up to all the songs, and I tried to really keep it true to the original tempos.
I basically sat down for a month, with all the Sun stuff I could find and just picked out my favorites. I didn't think that they were indicative of '54 to '57, although I tried to stay within that period.
With the Stray Cats at least, we really took the music somewhere else. First, we wrote our own songs. That's a real weak point in modern classics if you do rockabilly or blues.
Veteran performers are dying off, and new acts simply aren't emerging on the national scene.
,,, all around it would have to be Eddie Cochran, because it wasn't just music with him; it was his guitar playing, his look, his singing, I'd say that, all things considered, he's probably my favorite "cat" of all time
To keep creating something with this type of music, you have to take it out of the box.
The biggest challenge for me was Get Rhythm. I don't know why.
For every rockabilly festival staged here, there are 10 held overseas.
To me, rockabilly music paralleled punk's energy and feeling, but the players were much better.
It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.
I can't tell you how many people have asked me to show them Stray Cat Strut and that little diminished run on the C. I guess my brain is wired backwards. I don't know what possessed me to do that, but I did.
Since the big band started I'm just always swamped with movies and things. It certainly pays the bills and it's very satisfying, because I get to write all these big charts and all this crazy music.
The jazz chord substitutions in a country song... that was another thing that bent people's ears. I guess that my favorites are the unique ones. It's not how fast you play. It's that unique blending of different stuff I'm most proud of.
People out there maybe know who Junior Parker is and some of those Sun Records blues guys.
Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.
Mark Winchester has left the band. He's decided that he's tired of the road and just wants to concentrate on his career in Nashville. I don't blame him at all. He'll certainly be missed.
Elvis is not so difficult as Johnny Cash because his voice is so distinctive. If you try to copy Johnny Cash, it's just going to sound dumb.
McCartney! Haven't met him and haven't played with him. I would LOVE to. He needs to make a kick-ass rockabilly record.
It is hard to play Blue Suede Shoes. I know everyone has heard it 10 million times, and that makes it even harder to play it, but there's a very laid back tempo on that. I was surprised at how slow it really was.
As a genre, rockabilly's post-Elvis profile has seldom been lower in the United States. Many labels that produced fresh bass-slappin' sides during the '90's are now out of business.
Don't be afraid to take liberties with this music. Try and put some of yourself into it.
I didn't want to take the guitar solos down note-for-note, but more or less use them as a map, and keep all the hooks from the guitar playing, and let myself come through.
I mean, what 16-year-old is going to listen to Doc Watson?
There's a fine line between pleasure and pain. Love me like a ball and chain.
I thought it would be cool to take flat-picking and put it in overdrive. I thought it would bend the ear.
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