Alcatrazz Quotes
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When I was young, I wasn't a misfit or anything. I had friends in all the different social groups. But I had issues - just personal issues, insecurities and other things that had happened in my life.
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I could never overstate the importance of a musician's need to develop his or her ear. Actually, I believe that developing a good 'inner ear' - the art of being able to decipher musical components solely through listening - is the most important element in becoming a good musician.
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Criticism can be devastating. When push comes to shove, we are all very sensitive.
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All musicians practice ear training constantly, whether or not they are cognizant of it. If, when listening to a piece of music, a musician is envisioning how to play it or is trying to play along, that musician is using his or her 'ear' - the understanding and recognition of musical elements - for guidance.
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Still to this day, I am deeply satisfied when watching a guitar player who is connected with their art and instrument. GuitarTV helps you tap into that connection, and to each other.
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When I was growing up, the blues did seem too simple to me. I was just a muso.
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There is still a very strong subculture of people who want to do great things on an instrument, and who are stimulated by hearing people who can. That's reassuring. But it's gonna take a person - and I don't know who this is - to come along and reinvent the guitar as a virtuosic instrument in a completely different realm than any of us have done, or anybody else in the past. That's the clincher. Maybe that will happen and maybe it won't.
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The only time I'm miserable is when I can't keep an instrument in tune.
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I think the thing that I got most from working with Frank Zappa is that I was able to see someone who completely independent. The most beautiful thing about Frank was that he was completely in the moment and present and eternally creative.
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When you get down to it, the way that the music affects you individually is the most important thing, and when you let things like the location of a band get in the way or have an effect on your overview, you're cheating yourself out of a really good time.
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There's very notable dynamics in all of the collaborations I've done. It's hard to say if one is more important than the other, but if I had to think of all situations and point to one band that I enjoyed most it would be when I was eight years old. I had a band with my little sister and the kid across the street. We sat around all day playing music and it was bliss. I didn't have any expectations or do it for anyone or worry about selling an album. That was really my favorite band. We were called Hot Chocolate.
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My main calling in life is to seek and achieve spiritual balance, and to express that through my instrument. Everything else is here today, gone later today.
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It's always funny to me when people use the phrase 'Best guitar player in the world'. There are too many variables such as technique, uniqueness, emotional investment in the notes, etc. But If I had to pick one, it would be Tommy Emmanuel. Watching him perform can be a study in artistic and virtuosic human achievement.
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The blues scale was the first thing I learned. It's just a pentatonic scale with a flat seventh and a few notes that sound cool when you bend them. And because people have amalgamated the blues into this rock-blues scale, if you're using it, you better sound like a real authentic blues player.
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Lenny Breau was a genius - inspired and really loose. I loved how he used the guitar as an extension of his inner freedom, because, obviously, on the outside there were a lot of trainwrecks going on. But when you listen to him play, you hear what kind of guy he really is
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It just happens in life, where you resonate with a particular artist. Or it can be a kind of food or a fashion - you discover it and it gives you a whole new lease on life.
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I designed a guitar for Ibanez and then they started manufacturing it - it's called the Jem - it's 26 years old and I still play it. As a kid I liked Les Pauls and Strats, but they had limitations for the kind of playing I wanted to do.
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I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.
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That's the thing about great artists: They find the thing that's most obvious to themselves, what's most conscious and natural, and they put it out there and the audience comes.
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We have the insight and the tools to identify and bring to fruition the dormant talent that our artists possess. Favored Nations will be branded as the home base for inspired musical talent.
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I loved the guitar, and I had all of this music in my head. My passion for the guitar and the ideas for what I could create musically were equal. So that's where I was.
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The level of achievement that we have at anything, is a reflection, of how well, we were able to focus on it. Because the only thing that's holding you back, is the way you're thinking.
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I don't think you can learn to be a complete musician. That has to come from within, and it entails a lot of sacrifice.
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As a musician, I look for certain things that stimulate me. And what I look for is something that's an evolution on a particular genre that I never heard before.
