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.
Around age 11 or 12, I started playing jazz bass. From there, I went to electric bass and then guitar, which I kept up for a long time.
Phil Robson is a disturbingly good jazz guitar player!
Pick up my guitar and play, just like yesterday / And I get on my knees and pray.
There are two kinds of music. One comes from the strings of a guitar, the other from the strings of the heart. One sound comes from a chamber orchestra, the other from the beating of the heart's chamber. One comes from an instrument of graphite and wood, the other from an organ of flesh and blood. This loftier music I speak of tonight is more pleasing than the notes of the most gifted composers, more moving than a marching band, more harmonious than a thousand voices joined in hymn and more powerful than all the world's percussion instruments combined. That sweet sound of love.
There's just no stopping those girls with guitars.
But you make me sing like a guitar humming . . .
He could play the guitar just like ringing a bell.
My guitars, Cadillacs, and hillbilly music Is the only thing that keeps me hanging on.
I want a thousand guitars . . .
I'll be forever grateful to this instrument for being the surfboard that I rode the wave of life on
That old funny-shaped bit of wood is still staring me in the face every day saying 'come on, you haven't started yet!' It's infinite.
I just want to be able to play as fast as my brain goes, and my brain doesn't go all that fast.
It's one that still happens, actually... forgetting a part of a difficult piece. Usually, the chances of it happening are directly proportional to how quiet and attentive the audience is.
So that's the challenge for me and that has always been the challenge - finding that melody, that riff, that thing that just lights me up and makes me feel like it's Christmas.
Trust me, the only real way to understand 'Chic' is in highfalutin terms. Our chord progressions were based on European modal melodies. I made those early 'Chic' records to impress my jazz friends.
I'm pursuing soundtrack work in the southern California area and down the line I plan to make a moody, intense acoustic album. Not all acoustic, but an acoustic - oriented guitar record that I've already written most of the material for.
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