The first real thing I heard was Three O'Clock Blues by B.B. King. That's where it all began for me.
When you start believing you're something special, then you're not going to be striving to move forward.
I go for as much feeling as I can rather than show what I can do up and down the neck. I don't play to show people ability.
If I could sing, I wouldnt be a guitarist.
The ability to make music is a gift that you're born with; it's not something you can learn.
It's impossible to play a run with as much feeling as a single note. I've never been so much into runs as making single notes cry.
It's great to have something you can be proud of.
While I was with Procol Harum, the only time I'd see my guitar was either when I walked onstage or in the studio.
I think the fundamental part of my technique is my vibrato.
It all comes down to the density of the wood. Every guitar's different.
I was very keen on people like Elvis, Carl Perkins, Jerry Lee Lewis, and Gene Vincent.
My energy flagged because of heavy cold but the guys took up the slack.
Music has nothing to do with your technical ability.
My songs are more arrangements than they are songs.
During my early period I had custom-made overdrive stuff because I didn't like what they were making at the time.
I can't imagine ever going back to working with somebody else.
It gives me a good feeling to know that people out there really care.
Radio is commercial, isn't it. Its a business.
I wouldn't count myself as being a true blues guitarist because I feel you have to live it.
It was an experience being on a Beatles tour. They weren't very good. The singing was great, but the playing was a bit weak.
A certain death of an artist is overconfidence.
I got a guitar when I was about 14, for a Christmas present, and went from there.
A wah-wah is important as well. I love it; it makes the guitar scream.
I can't say I feel influenced by today's guitar players.
I didn't want to get attached to one guitar; I didn't want to have an instrument that was irreplaceable.
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