Some bands write and it is just the singer and the guitarist that do it all and then the rest of the band follows their vision. This is cool, and as you know I have been part of a few amazing bands that did this and I am not complaining.
Drummers haven't managed to develop their individuality quite as well as guitarists have. We can be so focused on the nuts and bolts that we overlook the importance of individuality - the broader picture, if you will.
But if you want me to knock Kingdom Come, all I will say is that I heard the guitarist said he'd never heard my playing, and I'd defy any guitarist in American not to have heard Led Zeppelin.
Among the guitarists, Wes Montgomery is fantastic. He's always good to let you know what the art form is all about. It's the same still life that everybody is painting, but in comes Wes Montgomery, and it's right there!
I tend to write pretty much by myself. I always did that anyway. I used to write with Ron Strykert 'cause he was the only guitarist and we played well together. We lived in the same place. I would play a certain style and he would kind of dance around what I did, in a sense. I learned from him and also vice-versa. With this band, I think I bounce ideas off everybody. Perhaps on the next album they'll be more collaborative stuff, but for the last 2-3 years, I've been pretty well writing by myself.
There's no great guitarist that doesn't sit down and listen to Chet Atkins and Eddie Van Halen, and all these other great players.
I was in bands as a singer-guitarist-songwriter until 1980-81. So, there's a bunch of stuff. A lot of the stuff is hard to come by-stuff by the Special Interest Group and the Zobo Funn Band. The Zobo Funn Band was a big Northeast cult band. We had about a billion skirmishes with the big rock industry.
I actually knew Sully's sister, and I was in a band called Stripmind, and then I became roommates with Sully and being out of a band, he asked if I wanted to join in his. Tony was originally the second guitarist in the band; a guy by the name of Lee Richards was the first. The rest is pretty much history.
The use of electronics is a natural extension of the instrument - it is an electric guitar. So we guitarists have been plugging into something since 1931, and we are not about to stop now. Current advances in technology means we can have a huge array of sounds at our fingertips, and this offers amazing possibilities to the contemporary composer. It is always a guitar (I don't play synthesizer) but it becomes something else all together - more like sculpting sound in real time using metal wires, 5 fingers and a pick.
As a guitarist and a lot of the times as a singer, I don't feel that comfortable and you really feel that when there's not an electric guitar or a nice beat to back it up. But, I enjoy challenges as a rule. I have always felt that what doesn't kill you, will make you stronger. I have learned to love with the rawness a little bit more and I know what I need to work on a little bit more as the tour goes on.
When I was a kid I really liked the guitarist of The Doors [Robby Krieger]. He plays blues, but he plays a lot of melodic things. He plays scales that are kind of unusual, and some bent notes.
I survived a number of garage bands during my teens and early twenties, both as drummer and guitarist. It's nigh impossible for me to listen to music without parsing it.
We were a really crazy band. This was in '73. I had my hair real short with a white stripe down the middle of my head. The guitarists had pink hair. We weren't playing CBGB's either, we were playing Statesborough, Georgia, for cowboys on penny beer night. We used to keep crowbars onstage when fights would break out. Those were really wild times.
The reality is each new day and each project is another opportunity to learn, experiment and try something I haven't done before. I've found that's what keeps me motivated and moving forward - learning new things and challenging myself on a daily basis to improve as a composer, recording engineer, percussionist, guitarist, producer...the list goes on and on!
I do really believe that all guitarists have a different character that comes through, that's a strong character, the stronger the person is.
Once I got a guitar that was relatively user-friendly, but not super-duper easy, I really came on as a guitarist, at that point. It helped. It was a super-expensive guitar either, but something needs to steer you a bit, if you're playing an instrument that is really hard.
I think a lot of modern day guitarists start off playing like Eddie van Halen, and they don't take the time to learn the basics.
It was by listening to Goodman's band, that I began to notice the guitarist Charlie Christian, who was one of the first musicians to play solos in a big band set-up.
Some of the greatest guitarists, historically, have had no chops, they've just had great taste. I know a lot of musical school kids who just have no taste.
But I say these things in an objective dispassionate manner because, you know, and I can't explain why, but being one of the greatest guitarists in the world simply is not very important to me.
I remember going foraging for breakfast in St. Louis once. I saw this one girl sitting in front of the venue, and she made this pink T-shirt with a big heart in the middle of it and a misty picture of our guitarist Mark [Potter]. She was so embarrassed when she saw me. And I was trying desperately not to laugh.
The harmonic effects produced unconsciously by our guitarists are one of the miracles of natural art.
I got a lot from my uncle who is a really good ska guitarist. Very ragged makeshift rhythms and intricate lines.
Musical acts that feign enthusiasm for what they're doing the guitarist who jumps up and down, like it's choreographed are so transparently vacuous.
For me, I never knew what addiction was. I just knew my heroes, like [New York Dolls guitarist] Johnny Thunders, did heroin. I didn't have a father, it looked good to me. If I had read Johnny Thunders' book The Heroin Diaries, I don't think I would have done heroin.
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