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I don't deal in technique. I deal in emotions.
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If you are on to something creative, school can also inhibit you. The wrong teacher, man, can really mess you up.
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I really wasn't needed... Just straightening up riffs, that's all. Just two guitarists doing it instead of one.
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I will still carry on changing all the time.
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I may not believe in myself, but I believe in what I'm doing.
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Crowley didn't have a very high opinion of women, and I don't think he was wrong.
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I always felt if we were going in to do an album, there should already be a lot of structure already made up so we could get on with that and see what else happened.
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We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.
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I don't go walking into things blind.
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I know where I'm going musically. I can see my pattern and I'm going much slower than I thought I'd be going.
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You don't find geniuses in street musicians, but that doesn't mean to say you can't be really good.
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The only term I won't accept is "genius."
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I can tell how far I ought to be going, I know how to get there, all I've got to do is keep playing.
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There's such a wealth of arts and styles within the guitar... flamenco, jazz, rock, blues... you name it, it's there. In the early days my dream was to fuse all those styles. Now composing has become just as important.