Martin guitars have now brought out, you know, on a more traditional level, the Stephen Stills' model of Martin guitars. It's beautiful. I just went inside. I bought one immediately.
I've played in pipe bands in Scotland, and I've always played guitars and drums and stuff.
The more guitars we have onstage the better, as I'm concerned.
I was in bands, but they were punk bands, and you plug in the guitars, you turn them up really loud, you've got four or five other people on stage with you, you've got some protection from when they throw lighters. You can always hide behind the lead singer or the bass player.
I had no idea 'The Dream Weaver' would be so successful. Everything just fell into place with that album. I pioneered a number of ideas with that album and subsequent tour. The all-keyboard approach with no guitars was a new one, and I was one of the first to use a drum machine in concert. It was an amazing time.
The heavy guitars are the ones that sound good. They are not that comfortable, but they do sound great.
I shared guitars before I actually got one of my own and played a guy's Silver tone and played another guys Danelectro 12 string and it was at about age 17 that I actually started playing.
You can't be, like, smashing guitars against Marshall stacks all the time. As a matter of fact, after a while, it just looks like posing - it never really gets down to any message or any real expression.
My philosophy is, honestly, never collected anything that I don't play. I know a lot of people that collect guitars, but for me, I want instruments that I play. And if I don't play them, I don't' want to have them sitting in a closet collecting dust.
I've always loved big riffs and chunky guitars.
Tone on jazz guitars is a real tough issue.
And if I would have taken lessons I probably wouldn't have done it, and what forced me to do all this weird stuff on the guitar was I couldn't afford effects pedals, I didn't have all this stuff when I was a kid so I just tried to squeeze all the weird noises I could out of the guitar, which brings me to building guitars.
I use Gibson guitars; I prefer the Les Paul custom.
I can't take any more white boys noodling around on their guitars.
You can muck around with different guitars for certain bits, but you have to have your own sound. That's your benchmark, that's your sound. I also play a Black Beauty. It sounds amazing.
Once all the power goes out, there will still be human beings standing together around a campfire, playing acoustic guitars.
As I got older, I fell in love with Radiohead, and 'OK Computer' is one of my favorite albums of theirs. Sonically, the tone of the guitars on tracks like 'Electioneering' just rips right through me.
I'm not into that Keith Richard trip of having all those guitars in different tunings. I never liked the Rolling Stones much anyway.
Why did they keep changing guitars and amplifiers when they were perfect? They did the same things with cars, if you ask me. They forgot how to make them right, because they focused on style and bells and whistles.
I don't listen to Nirvana plugged anymore. I think there's a whole group of people who have semi-forgotten that Nirvana used electric guitars because of the 'Unplugged' album. It's so great.
Strats are my favorite electric guitars, and I've got quite a collection.
A guitar can be so human, so sorrowful, so angry, and I wanted to figure out how to achieve that vibe without having to actually use guitars, because 'Badlands' is a very futuristic record - and making it that in an era of futuristic music is a really hard thing to do!
I'm seeing and hearing lots of B to B instruments, and everybody isn't, you know, using them... a lot of these guys are trying to do it on conventional guitars, although that has its own sound, and maybe its okay.
I used to cut guitars out of a piece of cardboard to copy the Strat look. I used a backwards tennis racket for a while and graduated to the cardboard cutout.
The stainless-steel frets were a major breakthrough, because of the amount of playing and bending that I do. I have to get my guitars refretted every couple of months.
I wrote a song with Kara DioGuardi called 'What If,' and it's a really beautiful song. It's kind of like a rock ballad. There's a lot of guitars and drums in it.
I don't really collect guitars.
Guitars have been the obsession of my life. I first picked one up at the age of four and I've been a guitar junkie ever since.
Years from now, after I'm gone, someone will listen to what I've done and know I was here. They may not know or care who I was, but they'll hear my guitars speaking for me.
I wish they'd had electric guitars in cotton fields back in the good old days. A whole lot of things would've been straightened out.
I've discovered that sheer quantity doesn't necessarily make for a heavier sound; if anything, overdubs make guitars sound mushier.
I've had three wives and three guitars. I still play the guitars.
When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.
We sat around and I fed them barbecue and whiskey. And pretty soon everyone started to compete with each other on the guitars. It seemed the more everyone drank and ate, the more everyone got into it.
I have about 50 guitars around the house. I can't take more than a few steps without finding one to pick up.
I've got an Avalon guitar - that's the company that used to be Lowden. They come out of Ireland, and they're like these folk kind of guitars. You can pick 'em, you can strum 'em - they're quite good.
