Guitar Player Quotes

Have I mentioned how hot Michael is? Hot, hot, hot. I mean, all guitar players are crushworthy - it's like it's issued with the talent - but I've been noticing lately that he is total Hottie McHottie of Hotland. Not that I could tell him that. Luckily, he is a boy. Hence, too dense to figure out why I'm staring at his ass.

I've apparently been the victim of growing up, which apparently happens to all of us at one point or another. It's been going on for quite some time now, without me knowing it. I've found that growing up can mean a lot of things. For me, it doesn't mean I should become somebody completely new and stop loving the things I used to love. It means I've just added more things to my list. Like for example, I'm still beyond obsessed with the winter season and I still start putting up strings of lights in September. I still love sparkles and grocery shopping and really old cats that are only nice to you half the time. I still love writing in my journal and wearing dresses all the time and staring at chandeliers. But some new things I've fallen in love with -- mismatched everything. Mismatched chairs, mismatched colors, mismatched personalities. I love spraying perfumes I used to wear when I was in high school. It brings me back to the days of trying to get a close parking spot at school, trying to get noticed by soccer players, and trying to figure out how to avoid doing or saying anything uncool, and wishing every minute of every day that one day maybe I'd get a chance to win a Grammy. Or something crazy and out of reach like that. ;) I love old buildings with the paint chipping off the walls and my dad's stories about college. I love the freedom of living alone, but I also love things that make me feel seven again. Back then naivety was the norm and skepticism was a foreign language, and I just think every once in a while you need fries and a chocolate milkshake and your mom. I love picking up a cookbook and closing my eyes and opening it to a random page, then attempting to make that recipe. I've loved my fans from the very first day, but they've said things and done things recently that make me feel like they're my friends -- more now than ever before. I'll never go a day without thinking about our memories together.

David Gilmour can do more with one note than most other guitar players can do with the whole fretboard

I’m doomed. Guitar players just do it for me.

I don't know why you're making the poor girl play with you," Peter said. "You're going to completely slaughter her." "Well, I am the greatest Guitar Hero player of all time," Jack said.

The hand touched my cheek again. It wasn’t soft and cool like Gina’s. It was warm, with calloused fingertips like those of…. ….a guitar player.

I had a dream about you. We were in a band. I was the lead singer, guitar player, saxophonist, harpist, violinist, bassist, cellist, harmonica player, pianist, and drummer. Oh, and I played the trumpet. And you, you had the important role—you played air guitar. I feel this dream accurately reflects me as an unselfish person, willing to stand in the shade so someone else might enjoy the spotlight and get all the glory.

I firmly believe if you want to be a guitar player, you better start on acoustic and then graduate to electric. Don’t think you’re going to be Townshend or Hendrix just because you can go wee wee wah wah, and all the electronic tricks of the trade. First you’ve got to know that fucker. And you go to bed with it. If there’s no babe around, you sleep with it. She’s just the right shape.

I've never thought Mr. Nelson had much use for me since I wasn't an athlete. He probably considered me a failure to the male species, and I'm sure he harbored questions about my sexuality. To him, I was some artsy-fatsy guitar playing fairy. Like I said, the man was an asshole.

...Only then will I teach you how to take a life—how and when and where.” “And why?” Natasha had asked. She had been young, then, or she would have known better. ... He had laughed outright. “Not why, my Natashka. Never why. Why is for guitar players and Americans.

Unless you're a true prodigy, you're going to have to practice for a while being bad before you get any good. And it will seem like a waste of time. I remember that feeling well. But don't worry about wasting time, because it'll be so worth it. It's my experience that in the end, life lessons and guitar lessons begin to blur in all sorts of interesting ways.

We ate, did our homework, got good grades, kissed our parents goodnight and always had the secret door and shared experiences to go to. It was truly remarkable, and doing it as a group made us feel invulnerable. As soon as the drums and amps were set up and Jean and Kathie hit it, I tell you there was nothing more to say. Conversation stopped, and the magic carpet ride took off. I’ve never felt anything more powerful in my life.

In Washington Square, one could still feel the characters of Henry James and the presence of the author himself. Entering the perimeters of the white arch, one was greeted by the sounds of bongos and acoustic guitars, protest singers, political arguments, activists leafleting, older chess players challenged by the young. This open atmosphere was something I had not experienced, simple freedom that did not seem to be oppressive to anyone.

I love people who play guitars on roofs!" said Rose, hopping along the pavement in one of her sudden happy moods. "Don't you?" "Never knew anyone else who did it!" "Don't you like Tom?" "Of course I do. But I don't know about all the other guitar-on-roof players! They might be really awful people, with just that one good thing about them. Playing guitars on roofs... or bagpipes... Or drums... Sarah would like that, and Saffy could have the bagpipes! Caddy could have a harp.... What about Mum?" "One of those gourds filled with beans!" said Rose at once. "And Daddy could have a grand piano. On a flat roof. With a balcony and pink flowers in pots around the edge! And I'll have a very loud trumpet! What about you?" "I'll just listen," said Indigo.

Buck had lobbied for a banjo player but Lane said they cost too much, which made no fucking sense to Buck because a banjo’s got fewer strings than a damn guitar.

If she could get into the one here at The Texas Player’s Club, she’d drag Trace Corbin out by his ass, stick her arm up it, and do his entire set ventriloquist style if she had do.

and I learned more at the hands of Carl Wilson than I learned from anybody else. He taught me a fuck of a lot of guitar playing. That man is a good guitar player.

Vincent van Gogh was a “tormented genius” the way Jimi Hendrix was a “guitar player.” I

This was the danger of sharing your dreams with your parents. If you told them you wanted to learn to play the guitar, all they heard you say was, “I want to learn to play the guitar,” and then they found some practical, convenient, cheap way, often involving a church basement, for you to do it. But Hector had not come up with any plan of his own. And owning a guitar seemed like an important stepping stone on the way to being a guitar player. So he pawned his soul and said he would take the lessons from the Presbyterian youth minister. What the hell, he thought. Or heck, he thought. What the heck.

Yeah," he says. "We've been friends since kindergarten. Funniest guy I know," Matt says with a chuckle. "He's a great guitar player, too. He's in a band with some guys from Omaha South. He keeps trying to get me to join." "What do you play?" I ask. "Baseball," Matt jokes.

He never had a craving in him that he couldn’t slick away on his guitar. You have to be native to the red-clay hills of Kentucky to understand that. There the guitar players don’t bother with any fingering; they do it by running a knife blade up and down the stops. Most of the good slickers down where he was born would say that a thin blade made the most music. But he liked the heft of a good, heavy hog sticker. It took a born player to handle one of those. And maybe that’s why his mother changed his name to Melody when he got old enough for a name to mean something beside “Come get tit.

I was fascinated by the machinations of performance back then and I still am now. A stage full of instruments awaiting a band is exciting to me. The sight of a guitar still turns me on. There is an unstated wonder in both of them: they hold the ability to transcend reality given the right set of players.

I truly believe Brad is from another planet – not sure where, but he is otherworldly gifted. His dexterity, fluidity, and precision are extraordinary – and in addition to these shaving techniques, he’s also not a bad guitar player. Just for the record, Brad has never actually asked me to start a band, and frankly that hurts!

Hi. I’m Nikki. Best friend and personal stylist for Harper Deacon.” Smith grinned at her, those stupid dimples making a reappearance. “Nice to meet you, Nikki I’m Smith. I aspire to be second-best friend and guitar player for Harper Deacon.” “You must enjoy a challenge,” Nikki said, batting her ridiculously long eyelashes. “Oh, I do,” Smith said, and aimed his grin at me.

Karma," he said once, "is not a sentence already printed. It is a series of words the author can arrange as she choses." Love. Murder. A broken heart. The professor in the drawing room with candlestick. The detective in the bar with the gun. The guitar player backstage with the pick. Maybe it was true: Life was a series of words we'd been given to arrange as we pleased, only no one seemed to know how. A word game with no right solution, a crossword puzzle where we couldn't quite remember the name of that song.

At the apex of Prince's career, I listened almost exclusively to metal. My sister actually purchased 'Purple Rain' on cassette, which I write about in my anthology ["Chuck Klosterman IV: A Decade of Curious People and Dangerous Ideas"]. And I felt ashamed that I liked Prince so much. A typical rock fan would be embarrassed that they liked Warrant or Ratt at the time, but I had the exact opposite experience. And I had this overwhelming fear that Prince was actually a better guitar player than any of the metal gods.

Pegi just recorded "I Don't Want to Talk About," written by Danny Whitten, the original Crazy Horse guitar player and singer who's all over Early Daze, an album of songs from the beginning of Crazy Horse that I have been working on compiling recently. Danny was every bit the artist I am, but he died of a heroin OD in the early seventies. Every time I hear Pegi sing that song, it makes me tremendously sad. She sings it so beautifully, phrasing it to break my heart. She does it justice. You can see I have some unfinished business with Danny.

Three ancient musicians hunched there— piano, guitar, accordion. None of them looked less than seventy years old, the accordion player so frail each time he swayed his shoulders around a corner of the melody Geryon feared the accordion would crush him flat. It gradually became clear that nothing could crush this man. Hardly glancing at one another the three of them played as one person, in a state of pure discovery. They tore clear and clicked and locked and unlocked, they shot their eyebrows up and down. They leaned together and wove apart, they rose and cut away and stalked one another and flew up in a cloud and sank back down on waves.

The music of my youth was much better Than the music of yours. So was the weather. ... Back then, people wrote gorgeous letters And read more poetry. So did the weather. ... Of all issues, there was only one dissenter, But we loved him, too. So did the weather. ... We were guitar-players and inventors Of minor chords and antibiotics. So was the weather. From "Terminal Nostalgia

Since there are always talented players in these emerging categories, no matter how grating they may be to the ear of the more traditionally inclined, I was not surprised when the heavy metal band Metallica achieved a style that was huge and orchestral in its guitar textures, showing itself to be perfectly capable of producing beautiful melodies with unusual, finely constructed harmonies.

The advisors, on the other hand, were like older brothers and sisters. My favorite was Bill Symes, who'd been a founding member of Fellowship in 1967. He was in his early twenties now and studying religion at Webster University. He had shoulders like a two-oxen yoke, a ponytail as thick as a pony's tail, and feet requiring the largest size of Earth Shoes. He was a good musician, a passionate attacker of steel acoustical guitar strings. He liked to walk into Burger King and loudly order two Whoppers with no meat. If he was losing a Spades game, he would take a card out of his hand, tell the other players, "Play this suit!" and then lick the card and stick it to his forehead facing out. In discussions, he liked to lean into other people's space and bark at them. He said, "You better deal with that!" He said, "Sounds to me like you've got a problem that you're not talking about!" He said, "You know what? I don't think you believe one word of what you just said to me!" He said, "Any resistance will be met with an aggressive response!" If you hesitated when he moved to hug you, he backed away and spread his arms wide and goggled at you with raised eyebrows, as if to say, "Hello? Are you going to hug me, or what?" If he wasn't playing guitar he was reading Jung, and if he wasn't reading Jung he was birdwatching, and if he wasn't birdwatching he was practicing tai chi, and if you came up to him during his practice and asked him how he would defend himself if you tried to mug him with a gun, he would demonstrate, in dreamy Eastern motion, how to remove a wallet from a back pocket and hand it over. Listening to the radio in his VW Bug, he might suddenly cry out, "I want to hear... 'La Grange' by ZZ Top!" and slap the dashboard. The radio would then play "La Grange.

Translating how that latter fact came to life in the studio, engineer Chuck Zwicky explained from his own observations during the recording of the album that “the way that Prince’s music comes together has everything to do with how he views the individual instruments, and for example, when he’s sitting down at the drums, he’s derivatively thinking about Dave Gerbaldi, the drummer from Tower of Power, and that’s a real fascile and funky drummer; and when he plays keyboards, he’s thinking about James Brown’s horn player, on one aspect; and when he’s playing guitar, other elements creep in, because he loves Carlos Santana, and Jimi Hendrix, and this other guitar player named Bill Nelson, a rock guitar player from the 70s. And so these aspects all come together to make this unique sound that is Prince, and it’s not rock, it’s not funk, it’s not jazz, it’s not blues—it’s just his own kind of music. I remember there was one particular moment when he started playing this keyboard line, and I’m thinking ‘He can’t play that, that’s Gary Newman.’ And at that moment, he stops the tape, and turns and looks at me and asks ‘Do you like Gary Newman?’ And I said ‘You know, the album Replica never left my turntable in Jr. High School after my sister bought it for me. I listened to it until it wore out.’ And he said ‘There are people still trying to figure out what a genius he is.

It was a gorgeous evening, with a breeze shimmering through the trees, people strolling hand in hand through the quaint streets and the plaza. The shops, bistros and restaurants were abuzz with patrons. She showed him where the farmer's market took place every Saturday, and pointed out her favorite spots- the town library, a tasting room co-op run by the area vintners, the Brew Ha-Ha and the Rose, a vintage community theater. On a night like this, she took a special pride in Archangel, with its cheerful spirit and colorful sights. She refused to let the Calvin sighting drag her down. He had ruined many things for her, but he was not going to ruin the way she felt about her hometown. After some deliberation, she chose Andaluz, her favorite spot for Spanish-style wines and tapas. The bar spilled out onto the sidewalk, brightened by twinkling lights strung under the big canvas umbrellas. The tables were small, encouraging quiet intimacy and insuring that their knees would bump as they scooted their chairs close. She ordered a carafe of local Mataro, a deep, strong red from some of the oldest vines in the county, and a plancha of tapas- deviled dates, warm, marinated olives, a spicy seared tuna with smoked paprika. Across the way in the plaza garden, the musician strummed a few chords on his guitar. The food was delicious, the wine even better, as elemental and earthy as the wild hills where the grapes grew. They finished with sips of chocolate-infused port and cinnamon churros. The guitar player was singing "The Keeper," his gentle voice seeming to float with the breeze.

He found himself thinking of something Barry Grieg had once said to him about a rhythm guitar player from L.A., a guy named Jory Baker who was always on time, never missed a practice session, or fucked up an audition. Not the kind of guitar player that caught your eye, no showboat like Angus Young or Eddie Van Halen, but competent. Once, Barry had said, Jory Baker had been the driving wheel of a group called Sparx, a group everybody seemed to think that year's Most Likely to Succeed. They had a sound something like early Creedence: hard solid guitar rock and roll. Jory Baker had done most of the writing and all of the vocals. Then a car accident, broken bones, lots of dope in the hospital. He had come out, as the John Prine song says, with a steel plate in his head and a monkey on his back. He progressed from Demerol to heroin. Got busted a couple of times. After a while he was just another street-druggie with fumble fingers, spare-changing down at the Greyhound station and hanging out on the strip. Then, somehow, over a period of eighteen months, he had gotten clean, and stayed clean. A lot of him was gone. He was no longer the driving wheel of any group, Most Likely to Succeed or otherwise, but he was always on time, never missed a practice session, or fucked up an audition. He didn't talk much, but the needle highway on his left arm had disappeared. And Barry Grieg had said: 'He's come out the other side.' That was all. No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just . . . come out the other side. Or you don't.

He found himself thinking of something Barry Grieg had once said to him about a rhythm guitar player from L.A., a guy named Jory Baker who was always on time, never missed a practice session, or fucked up an audition. Not the kind of guitar player that caught your eye, no showboat like Angus Young or Eddie Van Halen, but competent. Once, Barry had said, Jory Baker had been the driving wheel of a group called Sparx, a group everybody seemed to think that year's Most Likely to Succeed. They had a sound something like early Creedence: hard solid guitar rock and roll. Jory Baker had done most of the writing and all of the vocals. Then a car accident, broken bones, lots of dope in the hospital. He had come out, as the John Prine song says, with a steel plate in his head and a monkey on his back. He progressed from Demerol to heroin. Got busted a couple of times. After a while he was just another street-druggie with fumble fingers, spare-changing down at the Greyhound station and hanging out on the strip. Then, somehow, over a period of eighteen months, he had gotten clean, and stayed clean. A lot of him was gone. He was no longer the driving wheel of any group, Most Likely to Succeed or otherwise, but he was always on time, never missed a practice session, or fucked up an audition. He didn't talk much, but the needle highway on his left arm had disappeared. And Barry Grieg had said: 'He's come out the other side.' That was all. No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just . . . come out the other side. Or you don't.

He found himself thinking of something Barry Grieg had once said to him about a rhythm guitar player from L.A., a guy named Jory Baker who was always on time, never missed a practice session, or fucked up an audition. Not the kind of guitar player that caught your eye, no showboat like Angus Young or Eddie Van Halen, but competent. Once, Barry had said, Jory Baker had been the driving wheel of a group called Sparx, a group everybody seemed to think that year's Most Likely to Succeed. They had a sound something like early Creedence: hard solid guitar rock and roll. Jory Baker had done most of the writing and all of the vocals. Then a car accident, broken bones, lots of dope in the hospital. He had come out, as the John Prine song says, with a steel plate in his head and a monkey on his back. He progressed from Demerol to heroin. Got busted a couple of times. After a while he was just another street-druggie with fumble fingers, spare-changing down at the Greyhound station and hanging out on the strip. Then, somehow, over a period of eighteen months, he had gotten clean, and stayed clean. A lot of him was gone. He was no longer the driving wheel of any group, Most Likely to Succeed or otherwise, but he was always on time, never missed a practice session, or fucked up an audition. He didn't talk much, but the needle highway on his left arm had disappeared. And Barry Grieg had said: 'He's come out the other side.' That was all. No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just . . . come out the other side. Or you don't.

Then I remembered something else from the 2112 liner notes. I pulled them up and scanned over them again. There was my answer, in the text that preceded Part III—“Discovery”: Behind my beloved waterfall, in the little room that was hidden beneath the cave, I found it. I brushed away the dust of the years, and picked it up, holding it reverently in my hands. I had no idea what it might be, but it was beautiful. I learned to lay my fingers across the wires, and to turn the keys to make them sound differently. As I struck the wires with my other hand, I produced my first harmonious sounds, and soon my own music! I found the waterfall near the southern edge of the city, just inside the curved wall of the atmospheric dome. As soon as I found it, I activated my jet boots and flew over the foaming river below the falls, then passed through the waterfall itself. My haptic suit did its best to simulate the sensation of torrents of falling water striking my body, but it felt more like someone pounding on my head, shoulders, and back with a bundle of sticks. Once I’d passed through the falls to the other side, I found the opening of a cave and went inside. The cave narrowed into a long tunnel, which terminated in a small, cavernous room. I searched the room and discovered that one of the stalagmites protruding from the floor was slightly worn around the tip. I grabbed the stalagmite and pulled it toward me, but it didn’t budge. I tried pushing, and it gave, bending as if on some hidden hinge, like a lever. I heard a rumble of grinding stone behind me, and I turned to see a trapdoor opening in the floor. A hole had also opened in the roof of the cave, casting a brilliant shaft of light down through the open trapdoor, into a tiny hidden chamber below. I took an item out of my inventory, a wand that could detect hidden traps, magical or otherwise. I used it to make sure the area was clear, then jumped down through the trapdoor and landed on the dusty floor of the hidden chamber. It was a tiny cube-shaped room with a large rough-hewn stone standing against the north wall. Embedded in the stone, neck first, was an electric guitar. I recognized its design from the 2112 concert footage I’d watched during the trip here. It was a 1974 Gibson Les Paul, the exact guitar used by Alex Lifeson during the 2112 tour.

MY PROCESS I got bullied quite a bit as a kid, so I learned how to take a punch and how to put up a good fight. God used that. I am not afraid of spiritual “violence” or of facing spiritual fights. My Dad was drafted during Vietnam and I grew up an Army brat, moving around frequently. God used that. I am very spiritually mobile, adaptable, and flexible. My parents used to hand me a Bible and make me go look up what I did wrong. God used that, as well. I knew the Word before I knew the Lord, so studying Scripture is not intimidating to me. I was admitted into a learning enrichment program in junior high. They taught me critical thinking skills, logic, and Greek Mythology. God used that, too. In seventh grade I was in school band and choir. God used that. At 14, before I even got saved, a youth pastor at my parents’ church taught me to play guitar. God used that. My best buddies in school were a druggie, a Jewish kid, and an Irish soccer player. God used that. I broke my back my senior year and had to take theatre instead of wrestling. God used that. I used to sleep on the couch outside of the Dean’s office between classes. God used that. My parents sent me to a Christian college for a semester in hopes of getting me saved. God used that. I majored in art, advertising, astronomy, pre-med, and finally English. God used all of that. I made a woman I loved get an abortion. God used (and redeemed) that. I got my teaching certification. I got plugged into a group of sincere Christian young adults. I took courses for ministry credentials. I worked as an autism therapist. I taught emotionally disabled kids. And God used each of those things. I married a pastor’s daughter. God really used that. Are you getting the picture? San Antonio led me to Houston, Houston led me to El Paso, El Paso led me to Fort Leonard Wood, Fort Leonard Wood led me back to San Antonio, which led me to Austin, then to Kentucky, then to Belton, then to Maryland, to Pennsylvania, to Dallas, to Alabama, which led me to Fort Worth. With thousands of smaller journeys in between. The reason that I am able to do the things that I do today is because of the process that God walked me through yesterday. Our lives are cumulative. No day stands alone. Each builds upon the foundation of the last—just like a stairway, each layer bringing us closer to Him. God uses each experience, each lesson, each relationship, even our traumas and tragedies as steps in the process of becoming the people He made us to be. They are steps in the process of achieving the destinies that He has encoded into the weave of each of our lives. We are journeymen, finding the way home. What is the value of the journey? If the journey makes us who we are, then the journey is priceless.

Without you, I’m just a guitar player.

Sergeant Perez began singing, “My dog has fleas.” As far as I know, Perez doesn’t play the ukulele or guitar, but I guess he knows someone who does. Guitarists and uke players sing that song to help them tune their instruments. Perez sings it to annoy me. “My dog has fleas,” he sang again. Being off-key didn’t help his song. “Your wife has crabs,” I sang, hitting the tune just right. Maybe that’s why Perez flipped me the bird. He was jealous of my singing.

There are so many degrees of love that sometimes it’s just there in the background like a jazz guitar player riffing standards in the back of your mind. Sometimes you notice him as he plucks out a tune you actually recognize, but the rest of the time he’s just kind of there.

player hummed for a second, then sweet sad acoustic guitar filled the air, arpeggiated cascades that transformed the cramped space of the room. The voice that followed was smoky and haunting, filled with loss:

Looks like we found it." John said. "Where are we?" As far as Link could tell, there was nothing to find. John pointed up at the white signs at the intersection that read 61 and 49, and Liv checked her selonometer as if they weren't standing in the middle of nowhere. "Are those numbers supposed to mean something to us?" Floyd asked. "We're at the intersection of Highways 61 and 49 in Clarksdale, Mississippi," John said. Sampson shook his head. " I feel like an idiot. Any guitar player worth his strings knows about this place. It's where Robert Johnson made a deal with the Devil." Floyd's eyes widened. "Seriously? We're at the crossroads?" John nodded. "The one and only." Liv glanced at John. "I'm assuming this is an American thing?" He put his arm around her. "Yeah, sorry. It's an old rock and roll myth- at least as far as mortals are concerned. In the 1930s, a blues musician named Robert Johnson disappeared for a couple of weeks. According to the story, he brought his guitar right here to this crossroads-" Link jumped in. "Then he traded his soul to become the most famous blues guitarist in history." Sampson tugged on his leather pants, which weren't the best choice in the Mississippi heat. "Totally a fair trade, as far as I'm concerned." "Thought the same thing myself," a man's voice called out from behind them. Link wheeled around. A young man wearing a wrinkled white shirt, a black jacket, and a Panama hat stood on the side of the road with a three-legged black Labrador. There was a weariness in the man's eyes of someone much older. A battered guitar hung from a strap slung around his back.

She presses play and Andrea listens to the song. A guitar starts playing, then another and then drums; it’s an unusual sound; it seems like rock music but is strange, somewhat gothic and punk. It’s a melodic song, though, and his foot taps the beat without him realizing. A man’s voice, full of sadness, sings the first words:   "When routine bites hard And ambitions are low And resentment rides high But emotions won’t grow And we're changing our ways Taking different roads..."   Andrea knows it! He hears the song arrive from his distant past with a suitcase full of memories. He sees himself as a child, sitting in the living room, his little legs dangling from a chair. His father has just received a new CD from abroad and couldn’t wait to receive it so Gina the caretaker has sent it on to him in Clusone. He’s really excited and tells mom all about it. She’s happy too. Barbara has pigtails and is eating a piece of focaccia with olives, sticking her fingers inside to take them out one by one. She’s tiny, five years old or maybe younger. Andrea sees the CD on the table and wonders what is so special about it. There's a very pale guy on the front, with dark hair and a strange fringe. His mouth is right up to the microphone and everything else is black. It’s written in a language that he can’t read, though he knows that it’s English. His parents are so happy that he decides to take it and have a listen. He snatches the disc and CD player and runs off. He runs very fast...   "Then love, love will tear us apart again" sings Ian Curtis, the voice of Joy Division, his parents’ favorite band. It’s a compilation that came out in 2000, containing a special song, "Love will tear us apart again." Andrea runs to a little girl that he loves very much. He has fun all day long with her in the mountains. He runs to his inseparable friend, his dear... "Susy!" he exclaims, eyes open wide. She smiles and nods. He

Private listening really took off in 1979, with the popularity of the Walkman portable cassette player. Listening to music on a Walkman is a variation of the “sitting very still in a concert hall” experience (there are no acoustic distractions), combined with the virtual space (achieved by adding reverb and echo to the vocals and instruments) that studio recording allows. With headphones on, you can hear and appreciate extreme detail and subtlety, and the lack of uncontrollable reverb inherent in hearing music in a live room means that rhythmic material survives beautifully and completely intact; it doesn’t get blurred or turned into sonic mush as it often does in a concert hall. You, and only you, the audience of one, can hear a million tiny details, even with the compression that MP3 technology adds to recordings. You can hear the singer’s breath intake, their fingers on a guitar string. That said, extreme and sudden dynamic changes can be painful on a personal music player. As

They say, ‘Take some graveyard dirt, you’ll be a great guitar player.’ Hacksaw Harney told me to try that, he said that’s why he play so good. He took me along with him to get some, but I got about halfway there, and I said no. He said, ‘You got to do that if you want to be a better player.’ I said I guessed I was good enough.

Besides, I’m not planning on being around much longer. Maybe a week. So this would just be a short period.” “Where are you going?” He ignores my question and rises, carries his cup to the trash, and pitches it in like a basketball player. When he returns I’ve made up my mind, but I still have a question. “You’re carrying around a lot of money,” I try, framing it as a statement. “Oh, that? Yeah. That’s my savings. It’s not that much, and it’s got to last me a while. I try not to spend any of it, but this seemed worth it,” he says with disarming frankness. I feel like a complete loser. He’s made enough to save. Mine’s gone as soon as it hits my guitar case. I’ll freely admit I’m lousy with money. Budgeting isn’t one of my strong points. “You didn’t have to buy me another coffee, Derek,” I start, but his smile stops me. “What?” He shakes his head. “Nothing.” “Really. What is it? What did I do?” “I like the way you say my name. That’s all.” Bam. Right cross to the jaw. With a hell of a follow-through. “How about giving it a try for a few hours, until lunchtime, and seeing how we do? If I’m wrong, I’ll make up the difference. What do you make by one on a weekday?” Damn him straight to hell for being so reasonable sounding. He could probably sell toasters to penguins. I calculate quickly. On a good day, maybe five dollars. Most of my money will come in the afternoon, maybe another whopping ten or fifteen bucks before it gets dark. “Usually?

Rick contacted me about the session, but he didn't know who in hell was coming in. I said, "Who you got?" He said, "Aretha Franklin." I said, "Boy, you better get your damn shoes on. You getting someone who can sing." Even the Memphis guys didn't really know who in the hell she was. I said, "Man, this woman gonna knock you out." They're all going, "Big deal!" When she come in there and sit down at the piano and hit that first chord, everybody was just like little bees just buzzing around the queen. You could tell by the way she hit the piano the gig was up. It was, "Let's get down to serious business." That first chord she hit was nothing we'd been demoing, and nothing none of them cats in Memphis had been, either. We'd just been dumb-dumb playing, but this was the real thing. That's the prettiest session picture I can ever remember. If I'd had a camera, I'd have a great film of that session, because I can still see it in my mind's eye, just how it was - Spooner on the organ, Moman playing guitar, Aretha at the piano - it was beautiful, better than any session I've ever seen, and I seen a bunch of 'em.' Spooner Oldham, the weedy keyboard player who is most known for never playing the same licks twice and who is ordinarily the most reticent of men, speaks in similar superlatives. 'I was hired to play keyboards. She was gonna stand up in front of the microphone and sing. She was showing us this song she had brought down there with her, she hit that magic chord when Wexler was going up the little steps to the control room, and I just stopped. I said, "Now, look, I'm not trying to cop out or nothing. I know I was hired to play piano, but I wish you'd let her play that thing, and I could get on organ and electric." And that's the way it was. It was a good, honest move, and one of the best things I ever done - and I didn't do nothing.

Gibson put out this cheap, really good guitar, and cats would tune it, since they were nearly all banjo players, to a five-string banjo tuning. Also, you didn’t have to pay for the other string, the big string. Or you could save it for hanging the old lady or something.

I’ve played with many bass players, and Berry Oakley was the perfect bassist for the Allman Brothers Band. If you wanted him to get crazy, he could, but only if everybody else did. He didn’t go off on tangents in the middle of “Melissa,” and Joe Dan was like that too. He could bring down the band when he had to, because if the bass player or the drummer shuts down, the other guys got to. The right hand of the bass player and the right foot of the drummer are the main beam of the whole damn cabin; without that, the whole thing collapses. The bass player and the drummer have to constantly think about what they’re doing, whereas a guitar player can have his mind in South Georgia somewhere, thinking about being home. After a while, I asked, “Joe Dan, why are you here?

Like Miles Davis, Graham often used to turn his back on his audiences. This was primarily between songs, while he was retuning his guitars. For Graham, in the early 1960s, was privy to a secret alternative tuning system known as DADGAD, which he was reluctant to share with any rival guitarists in the crowd. He began using it around 1962–3, on a trip to the bohemian Beat capital Tangier, where he spent six months and earned his keep by working in a snack booth selling hash cakes to locals. The raw Gnaoua trance music preserved in Morocco’s town squares and remote Rif mountain villages stretched back thousands of years, and Graham was hypnotised by the oud, a large Arabic lute which resembles a bisected pear (the word ‘lute’ itself derives from the Arabic ‘al-ud’) and has been identified in Mesopotamian wall paintings 5,000 years old. The paradigm of Eastern music, defining its difference from the West, is the maqam, which uses a microtonal system that blasts open the Western eight-note octave into fifty-three separate intervals. DADGAD is not one of the tunings commonly used on the eleven-string oud, but Graham found that tuning a Western guitar that way made it easier to slip into jam sessions with Moroccan players. The configuration allows scales and chords to be created without too much complicated fingering; its doubled Ds and As and open strings often lead to more of a harp-like, droning sonority than the conventional EADGBE.

Jack, R U alrite? That was the first text I got from Tom, my best friend. I peeked out from under the comforter to read it, then wrapped the blanket around my head again without replying. I wasn’t in the mood to deal with him right now. I wasn’t in the mood to deal with anyone. I just wanted to lie in the dark and pretend I didn’t exist. The cell phone buzzed again. I sighed. I made a little hole, just large enough for my eye, and stared angrily at the phone. I wanted it to realize what it was doing was wrong. That I wanted to be left alone. The phone stared back at me, a small notification light flashing on the top of the device. I picked it up and looked again. R U there? I heard U askd Jasmine 2 the dance! R U crazy??? D: )-:< I wished I was crazy. That would have made everything so much simpler. When I retreated back into my cave this time, I tried putting my pillow on my head too, hoping that it would stop the sound of the phone from cutting into my solitude. I closed my eyes as tightly as I could and tried to wish everything back to normal. That works sometimes in the movies, right? BUZZ BUZZ. “Agh!” I jumped slightly as the phone somehow buzzed even louder this time (how did it do that?) and the pillow flew off my head. Sunlight shone in through the window, blinding me. I squinted and waited for my room to blur into focus. The white walls, my posters of awesome superheroes, my laptop, my guitar… I grumbled as I leaned over and looked at my phone screen again. Wat abt HOLLY? UR GRLFRND? Ppl are sayn she is very upset! I threw the phone down on my bed. It bounced twice and ended up balancing on the edge of the mattress. I didn’t blame Holly. I was also very upset. A few weeks ago, my life had been pretty much perfect. I had the hottest girl in school as my girlfriend, I was a star player on the football team, I had a band that was definitely going to be famous someday soon, and it was all going my way. Now it was all gone, swirling towards disaster. Actually, disaster was a while back. Now things were definitely swirling towards complete chaos. My life was destroyed and I was hiding in my bed. That doesn’t happen in the movies. My phone buzzed again.

Liam leaves no stone unturned in his guitar instruction method. His course is in-depth and accurate in covering the most important things you need to know to be a good guitar player. I highly recommend it!" - Gary Talley (The Box Tops)

Musicians respected him because he could play himself and understood the trials and tribulations of making music,” says Don Randi. “All the guitar players in particular loved to work for him because he understood the guitar better than any other producer, and he could play it so well.

One thing I had figured out by then was that talent, like everything else, was just a starting point. What counted was what you did with it. I knew I wasn't the most talented guitar player or the best singer or the best writer, but I could do all of those things, and I had a complete vision of what it was going to take to succeed---a vision that included working, working, working.

For People Starting Out—Say “Yes” When Derek was 18, he was living in Boston, attending the Berklee College of Music. “I’m in this band where the bass player, one day in rehearsal, says, ‘Hey man, my agent just offered me this gig—it’s like $ 75 to play at a pig show in Vermont.’ He rolls his eyes, and he says, ‘I’m not gonna do it, do you want the gig?’ I’m like, ‘Fuck yeah, a paying gig?! Oh, my God! Yes!’ So, I took the gig to go up to Burlington, Vermont. “And, I think it was a $ 58 round-trip bus ticket. I get to this pig show, I strap my acoustic guitar on, and I walked around a pig show playing music. I did that for about 3 hours, and took the bus home, and the next day, the booking agent called me up, and said, ‘Hey, yeah, so you did a really good job at the pig show. . . .’ “So many opportunities, and 10 years of stage experience, came from that one piddly little pig show. . . . When you’re earlier in your career, I think the best strategy is to just say ‘yes’ to everything. Every little gig. You just never know what are the lottery tickets.

Ginsberg and those coffee houses with hungry-looking guitar players never did mean shit to me. They never took their drinking seriously.

CHRIS CAFFERY:  I'd have to say that everybody's favorite old Scorpions song as a guitar player is "The Sails of Charon." That song is the one that you heard and you were like, "What the heck is this?!" Because it was trippy, it was different. The funny thing is if you ever look at the old interviews that Yngwie Malmsteen did, he never credited Uli - until recently. He used to say, "Oh, I did not know who Uli Roth was." And it's like, "Bullshit you didn't! You stole everything you ever did from him and Blackmore!" [Laughs]

The thing I’ve been thinking is that I learned more about music from the way he walked onstage than anything else. It wasn’t necessarily what he played; it was who he was and what his intentions were. “Intention has so much to do with it. You can hear that in music so clearly. It’s not like, ‘I’m such a good guitar player.’ Music has nothing to do with that, you know?

The Primrose was a comfortable, seaworthy craft which plowed through deep waves with scarcely a roll. Even so, Mrs. Chatham, a poor sailor, soon was confined to her cabin with a mild case of seasickness. Ellen and Trixie shared an adjoining stateroom. Left mostly to themselves, Nancy, Ned, and the other couples thoroughly enjoyed the daylight hours on deck. The second night out they danced to records and held an impromptu entertainment. Bill Tomlin, a talented guitar player, was asked to accompany Ellen. The young people would not let her stop until she had sung several selections. All applauded her loudly. Finally she begged off, saying she must put Trixie to bed.

In 2006, the political ambitions of Governor Huckabee of Arkansas, who was going to stand in the primaries as a contender for the Republican presidential nomination, extended to granting me a pardon for my misdemeanor of thirty years previous. Governor Huckabee also thinks of himself as a guitar player. I think he even has a band. In fact there was nothing to pardon. There was no crime on the slate in Fordyce, but that didn’t matter, I got pardoned anyway.

Unfortunately, the grunge scene took over and once that happened I thought for me there was no future in pursuing a musical career. You know I’m a solo type of guitar player and there were no guitar solos anymore and once Nirvana hit there were no more guitar solos and I was like, ‘oh, it’s over.’ Once that “Smells Like Teen Spirit” thing hit there were no more guitar solos.

I played guitar when I was a kid. I wanted to be Richie Sambora.” “Who is Richie Sambora?” “Only one of the most prolific guitar players of his time.” He gives me a blank stare. “You know, the guitarist for Bon Jovi.

A few years from now, far away from here, a young woman will be sitting on a sofa at a party. Everyone around will be dancing and drinking but his eyes will be glued to the television. It's just a short clip from concert by one of the country's most female performers right now. Her name is Maya Andersson, and the young man has always loved that name. How ordinary it sounds. He's never thought about her accent, has never reflected upon why it sound so familiar to hin, But now he sees her on television and she's singing a song about someone she loved,because it's hit birthday, and on the huge screen behind ger a photograph of him flashes up for moment. She knows no one will really see it, a thousand more images flash past right after it, she just inclided that particular photograph for her own sake. But he man on sofa recognizes it. Because he remembers fingertips and glances. Beer bottles on a worn bar counter and smoke in a silent forest. The way snow feels as it falls on your skin while a boy with sad eyes and a wild heart teaches you to skate. The man on the sofa pack almost nothing. He takes just a light bag and the case containing his bass guitar and travels to the next town on Maya's tour. He elbows past her security guard and almost gets knocked to the floor and he he calls out: "I knew him! I knew Benji! I loved him too!" Maya stops mid-stride. They look each other in the eye and see only him, the boy in the forest, sad and wild. "Do you play?" May asks. "I'm a bass player," he says. From then on he is her bass player. No one plays her songs like he does. No one else cries as much each night.

Everything was going well in my life. My career was spit-shined and gleaming, I’d made a name for myself in the sports world, and I had plans to get back onto the battlefield like a Navy SEAL should. But sometimes, even when you are doing everything right in life, shit storms appear and multiply. Chaos can and will descend without warning, and when (not if) that happens, there won’t be anything you can do to stop it. If you’re fortunate, the issues or injuries are relatively minor, and when those incidents crop up it’s on you to adjust and stay after it. If you get injured or other complications arise that prevent you from working on your primary passion, refocus your energy elsewhere. The activities we pursue tend to be our strengths because it’s fun to do what we’re great at. Very few people enjoy working on their weaknesses, so if you’re a terrific runner with a knee injury that will prevent you from running for twelve weeks, that is a great time to get into yoga, increasing your flexibility and your overall strength, which will make you a better and less injury-prone athlete. If you’re a guitar player with a broken hand, sit down at the keys

A couple of months after the release of Stars ’n Bars, Young abruptly changed direction again. He surfaced in Santa Cruz, a friendly but somewhat seedy hippie college town not far from his ranch, playing guitar in a local outfit that included Moby Grape’s bass player, Bob Mosley, and Jeff Blackburn, whom Young had encountered during the Springfield days.

Every example below is something that either I or someone I know was able to learn and execute in a single weekend. Changing your own car oil Installing a new ceiling-mounted light fixture Learning the basics of a new technique on an instrument you already play (e.g., a guitar player learning Travis picking) Figuring out how to precisely calibrate the tone arm on your turntable Building a custom headboard from high-quality lumber Starting a garden plot

Carnival Cruise Lines has its own successful way of doing things, which in this case involved creating a musical group called “The Hot Shots!” The word “Fantastic” comes to mind when thinking of this musical group! Each member auditioned separately at the Carnival rehearsal facility in Miami and then rehearsed as a group until they were ready for the big leagues aboard ship. Fortunately for me and my team, which includes Jorge Fernandez, a former guitar player from Cuba and now a top flight structural engineer in the Tampa Bay area, who helps me with much of my technical work; Lucy Shaw, Chief Copy Editor; Ursula Bracker, Proofer, and lucky me Captain Hank Bracker, award winning author (including multiple gold medals), were aboard the Carnival Legend and were privileged to listen to and enjoy, quite by chance, music that covered everything from Classical Rock, to Disco, to Mo Town and the years in between. Talented Judith Mullally, Carnival’s Entertainment Director, was on hand to encourage and partake in the music with her outstanding voice and, not to be left out, were members of the ship’s repertory cast, as well as the ship’s Cruise Director. The popular Red Frog lounge on the Carnival Legend was packed to the point that one of the performances had to be held on the expansive Lido deck. However, for the rest of the nights, the lounge was packed with young and old, singing and dancing to “The Hot Shots!” - a musical group that would totally pack any venue in Florida. Pheona Baranda, from the Philippines, is cute as a button and is the lead female singer, with a pitch-perfect soprano voice. Lucas Pedreira, from Argentina, is the lead male singer and guitar player who displayed endless energy and the ability to keep the audience hopping! Paulo Baranda, Pheona’s younger brother, plays the lead guitar to perfection and behind the scenes is the band’s musical director and of course is also from the Philippines. Ygor, from Israel, is the “on the money” drummer who puts so much into what he is doing, that at one point he hurt his hand, but refused to slow down. Nick is the bass guitar player, from down under New Zealand, and Marina, the piano and keyboard player, hails from the Ukraine. As a disclaimer I admit that I hold shares in Carnival stock but there is nothing in it for me other than the pleasure of listening to this ultra-talented group which cannot and should not be denied. They were and still are the very best! However, I am sorry that just as a “Super Nova” they unfortunately can’t last. Their bright shining light is presently flaring, but this will only be for a fleeting moment and then will permanently go to black next year on January 2, 2020. That’s just the way it is, but my crew and I, as well as the many guests aboard the Carnival Legend, experienced music seldom heard anywhere, any longer…. It was a treat we will remember for years to come and we hope to see them again, as individual musical artists, or as perhaps with a new group sometime in the near future!

A person doesn't become an accomplished musician by watching other people play. He becomes successful by himself, playing and practicing... daily... every day... for hours on end. Calloused fingers and cramping hands are just some of the inherent costs of becoming a guitar player. He spends the majority of his time tucked away in a back room mastering his craft.... Most great musicians are often born from a lifetime of daily grueling practice, behind the scenes and in relative obscurity. Most of what the public sees of these people is merely the finished product of years of work. The best ones make it look easy, almost effortless.

A meeting was held with everybody, including Syd, at Peter’s house in early March. Peter says, ‘We fought to keep Syd in. I didn’t really know David, although I knew he was a talented guitarist and a very good mimic. He could play Syd guitar better than Syd.’ However, Peter and Andrew conceded, and after only the odd outbreak of recriminations, the partnership was dissolved. Syd’s suggestion for resolving any problems, by the way, was to add two girl saxophone players to the line-up. We agreed to Blackhill’s entitlement in perpetuity to all our past activities. The three of us continued as Pink Floyd and Syd left the band. Peter and Andrew clearly felt that Syd was the creative centre of the band, a reasonable point of view given our track record up until that point. Consequently, they decided to represent him rather than us. ‘Peter and I deserved to lose Pink Floyd,’ says Andrew. ‘We hadn’t done a good job, especially in the US. We hadn’t been aggressive enough with the record companies.’ Andrew thinks that none of us – David apart – came out of this phase with flying colours. And he makes the point that the decision to part company was definitely a shock to Syd, because he had never considered the rest of us (as others might have) to be effectively his backing band – ‘he was devoted to the band.

Even for non–guitar players, it’s worth trying to describe what he does. At the 5 chord, instead of making the conventional barre chord, the B7th, which requires a little effort with the left hand, he wouldn’t bother with the B at all. He’d leave the open A note ringing and just slide a finger up the D string to a 7th. And there’s the haunting note, resonating against the open A. So you’re not using root notes, but letting it fall against a 7th. Believe me, it’s (a) the laziest, sloppiest single thing you can do in that situation, and (b) one of the most brilliant musical inventions of all time.

Years down the road, Hammond explained, “What I wanted to do with Bobby was just to get him to sound in the studio as natural, just as he was in person, and have that extraordinary personality come through...After all, he's not a great harmonica player, and he's not a great guitar player, and he's not a great singer. He just happens to be an original. And I just wanted to have that originality come through.

Any other female guitar players in the world know what I'm talking about, when you get ur nails did & they get shot to shit in a day #FUCKit

At the end of the European leg, our lead guitar player pulled a knife on our bus driver in England. I

I decided the world was filled with plenty of good guitar players, many of them my match or better, but how many good songwriters were there?

There was a band jam going, a slow groove I knew he could get into, and we were trying to launch his solo. Before he started, I told him to play like his mother had died, to picture that day, what he would feel, how he would make sense of his life, how he would take a measure of everything that was inside him and let it out through his guitar. Eddie was the kind of player who rose to a challenge. If you gave him instructions or a prompt, he’d come around to it. And when he started playing, I knew immediately that he understood what I meant. I could see the guitar notes stretching out like a silver web. When we played the solo back, I knew that it was good beyond good, not only a virtuoso display of musicianship but also an almost unprecedented moment of emotion in pop music. That was the missing ingredient that arrived in time for that song; it was maybe the first time that our emotional ability as artists matched our technical ability as players.

And don't let anyone trick you into playing bass. The world's got enough chick bass players Seriously, though. Why play bass when you can play guitar?

Emma found Stevie Ray Vaughan's Tightrope on the Bluetooth from her phone and eased back for the drive. She loved those Texas blues Stevie Ray belted out. Fantastic guitar player. She had fallen in love with his music long after the singer's untimely death in a helicopter crash. What is it with musicians and aircraft? she thought.

Grinning, I said, “I used your toothbrush.” “So now your gross little sweaters are on my toothbrush?” “You offered.” I laughed, and then patted the bed next to me. “Want to spoon?” I yawned. “I need that nap.” In a flash he unplugged the guitar, put The Cure on his CD player on low volume, tore off his T-shirt, and slid in behind me, wearing only his flannel pajama. “God, I thought you’d never ask,” he said. He wrapped his arms around me. Nothing hurt. Everything was right. We were spoons in a drawer. We fell asleep, his face tucked into the back of my neck.

I was and still am a big Dylan fan and admirer, so I asked Bob Johnston if there was any way he could let me play on just one session. Sessions in Nashville are scheduled so you can fit four into a day: 10: 00 a.m., 2: 00 p.m., 6: 00 p.m., and 10: 00 p.m. As it happened, the guitar player they had scheduled for the 6: 00 p.m. session couldn’t make it and wouldn’t show up until the 10: 00 p.m. session, so Bob fit me in for 6: 00 p.m. I was the hungriest musician in the studio. I hung on every note that Bob Dylan sang and played on his guitar and did my best to interpret his music with feeling and passion. When the session was over, I was packing up my guitars to head to my club gig, and Bob Dylan asked Bob Johnston, “Where is Charlie going?” Bob told him I was leaving and that he had another guitar player coming in. Then Bob Dylan said nine little words that would affect my life from that moment on. He said, “I don’t want another guitar player. I want him.” And there it was. After all the put downs, condescension, and snide remarks, after all the times I’d driven to the hill above my house and shook my fist at Nashville and said, “You will not beat me.” After all that rejection, none other than the legendary Bob Dylan was saying that I might be worth something after all. It’s bits of encouragement like that that keep you going. Once in a while something just lights you up and you say, “Yeah, I can do this.