Link Wray... He was the beginning of Grunge, way before anybody you know.
Rumble is the best instrumental ever.
Link Wray is the all-time legend.
Link is a quiet man to meet- easy and courteous. His music, though, betrays that deep inside he gets very very mean very often. I remember being made very uneasy the first time I heard Rumble , and yet very excited by the guitar sound. And his voice! He sounds like a cross between Jagger and Van Morrison, even sometimes like Robbie Robertson. We met him in New York in 1970 while recording Who's Next.... this later inspired the b-side Wasp Man, a tune we dedicated to Link Wray.
That's pretty much why I went into show business because I wanted to have a guitar and sing unaccompanied, that was like my fantasy of the perfect life.
There comes a point with any collaboration like that where you start having other interests creatively. I was moving in one direction musically, and as a guitar player, Mark wanted to move in another direction. That was essentially the reason we broke up.
My whole career from the early 70s on has been mind-blowing. I didn't imagine in my life that I would ever be considered a guitar player first of all because I started off as a singer.
I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!
As a kid I used to pretend I was John Denver, of all people, and play the guitar and sing Take Me Home, Country Roads.
Eric Clapton is my dream guitarist.
Ben was more improvisational, and relied less on methodology, and basically is a guitarist who switched to bass, whereas Jeff has a more traditional approach to playing bass in a band, and has a great sense of what his band sounds like, and we lock up nicely.
I was training to be a lawyer... I was president of the law society at Glasgow University, and my bass guitarist was my secretary of my law society; the lead guitarist and writer worked at the law firm that I worked.
I'm not a really good classical guitarist by any means, but what I learned from this is a way of working very slowly on solo pieces and I enjoyed working on these pieces of John's. They were not written for solo guitar but a lot of them were easy to adapt.
In jazz, you listen to what the bass player is doing and what the drummer is doing, what the pianist and the guitarist is doing, and then you play something that compliments that, so you are thinking simultaneously and thinking ahead.
I never considered myself a songwriter, but now since I've been working with Nick Lowe, I am contributing to an extent. But I'm the guitarist and he's not, so we compliment each other in a way.
Michael Sunday and I are the original members of the band. We first did it just for charities and benefit concerts. It was very ad-hoc, and before we knew it, we were really a band. We went through several drummers and guitarists before we were happy with the line up.
I love Gibsons, and Nationals, too. There's something magical about them.
While listening, to things like western swing, for instance, I'd work something out in my head, then play it on my National; not the same song, but one that captured the feeling of the original tune.
I guess, and it may be a flaw, that I think about rhythm more [than anything else]. I'm always wanting to find something unusual. I've started to try and write more traditionally, but for whatever reason, I tend toward trying to find something that sounds more like a pattern to me.
What made me want to play guitar was that painting of Wings in concert in the gatefold of Wings Over America. It looked so exciting... I wanted to be part of it.
Looping isn't an effect: it's your playing, only more of it and, if you hang with it, it'll uncover previously hidden facets from the body of your music. Remember: the original source of any loop is whatever your sound is, at the moment of input.
Never having thought of writing for the guitar, I asked Julian Bream for a chart which would explain what the guitar could do. I managed to write some rather pretty pieces for him, except that the first six notes of the first piece all need to be played on open strings. So when he begins to play the audience will probably think he's tuning the bloody thing up!
Take but degree away, untune that string, and hark, what discord follows!
Electric guitars are an abomination, whoever heard of an electric violin? An electric cello? Or for that matter an electric singer?
My guitar, I sing of thee 'Tis with thee that I decoy And ensnare enchantingly the ladies I enjoy.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: