Guitarist Best Quotes

Fame is not so impossible for people with charisma, passion and talent. Being famous just means you have fans, and even one or two is enough to make you someone special. Ask a music fan who the best guitarist of all time is, and while one group insists that it was Jimmi Hendrix, another group swears that it was Eddie Van Halen instead. There will never be a time when everyone on this planet agrees on something like that, but luckily that's not important. All that matters is that both sides remain loyal, which they will assuming you continue to be who you are and do your thing. This is all that you need to be immortalized.

Billy Rankin is a true Glasgow rock legend. He has everything going for him: he's a brilliant guitarist, he writes killer songs, he's worked with the best, toured the world and he is one handsome-looking chap. I know all of this because Billy told me.

RESURRECTION OF DJANGO He was born in a gypsy caravan and spent his early years on the road in Belgium, playing the banjo for a dancing bear and a goat. He was eighteen when his wagon caught fire and he was left for dead. He lost a leg, a hand. Goodbye road, goodbye music. But as they were about to amputate, he regained the use of his leg. And from his lost hand he managed to save two fingers and become one of the best jazz guitarists in history. There was a secret pact between Django Reinhardt and his guitar. If he would play her, she would lend him the fingers he lacked.

right to use Apple Corps for their record and business holdings. Alas, this did not resolve the issue of getting the Beatles onto iTunes. For that to happen, the Beatles and EMI Music, which held the rights to most of their songs, had to negotiate their own differences over how to handle the digital rights. “The Beatles all want to be on iTunes,” Jobs later recalled, “but they and EMI are like an old married couple. They hate each other but can’t get divorced. The fact that my favorite band was the last holdout from iTunes was something I very much hoped I would live to resolve.” As it turned out, he would. Bono Bono, the lead singer of U2, deeply appreciated Apple’s marketing muscle. He was confident that his Dublin-based band was still the best in the world, but in 2004 it was trying, after almost thirty years together, to reinvigorate its image. It had produced an exciting new album with a song that the band’s lead guitarist, The Edge, declared to be “the mother of all rock tunes.” Bono knew he needed to find a way to get it some traction, so he placed a call to Jobs. “I wanted something specific from Apple,” Bono recalled. “We had a song called ‘Vertigo’ that featured an aggressive guitar riff that I knew would be contagious, but only if people were exposed to it many, many times.” He was worried that the era of promoting a song through airplay on the radio was over. So Bono visited Jobs at home in Palo Alto, walked around the garden, and made an unusual pitch. Over the years U2 had spurned

Jimi Hendrix is the Greatest, Jeff Beck is the Best, but I prefer to listen to Jimmy Page

Talking about talents, Jimi Hendrix had talents. Rated the best guitarist that ever lived, he talked to his guitar like a father to a child, reeling off rhythms upon rhythms that continue to haunt his early death.

As Bach would have most likely chosen a Moog synthesizer over the best organ of his time, I am fairly certain King David would have been a guitarist if he were living today. We use what we have in the time we live.

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.

Yes, we were good at using the grapevine. But what we were best at, what we were really the kings of, that was buses and sitting around in bedrooms. No one could beat us at that. None of this led anywhere. Well, we probably weren’t very good at doing things that led somewhere. We didn’t have particularly good conversations, no one could say we did, the few topics we had developed so slowly we ourselves assumed they had nowhere to go; not one of us was a brilliant guitarist, although that is what we would have loved to be, more than anything else, and as far as girls were concerned, it was rare we came across one who wouldn’t object if we pulled up her jumper so that we could lower our heads and kiss her nipples. These were great moments. They were luminous shafts of grace in our world of yellowing grass, grey muddy ditches and dusty country roads. Yes, that was how it was for me. I assumed it was the same for him. What was this all about? Why did we live like this? Were we waiting for something? In which case, how did we manage to be so patient? For nothing ever happened! Nothing happened! It was always the same. Day in, day out! Wind and rain, sleet and snow, sun and storm, we did the same. We heard something on the grapevine, went there, came back, sat in his bedroom, heard something else, went by bus, bike, on foot, sat in someone’s bedroom. In the summer we went swimming. That was it. What was it all about? We were friends, there was no more than that. And the waiting, that was life.

The room was crowded with fans, friends, and dignitaries (where’s your crown, King Jericho?), all waiting to say a few words to the band. I noticed guitarist Kirk Hammett, who I’d kind of met once before in 1994 in Atlanta. I had asked him to sign the cast on my broken arm (I’d broken it trying a shooting star press in Knoxville) and he said he would if “I could use his boner as a speed bump.” I’m still not sure what he was getting at, and he wasn’t either when I asked him about it fourteen years later in Chicago. He said, laughing, “I was really drunk on Frangelico that night.” I could relate, considering I had crashed my car and split open my forehead whilst under the influence of said spirit in Calgary back in 1995. (Full versions of

The best lesson he taught me was how to adjust your phrasing so as to play behind someone without detracting from the solo. As a lead guitarist, it isn’t always easy to allow someone to step forward into the spotlight and play while you’re supporting them. Between us, we learned that little two-step, a sort of musical dance.

A tawdry realm of shifting, insecure employment and fleeting glimpses of high reward for little effort. A world where strings are pulled by complete cretins while those who work hard at the creative coalface are at the bottom of a steaming dunghill of vacuity, broken dreams, and empty promises.

No You Can't Meet Iggy

The blues emerge immediately after the overthrow of Reconstruction. During this period, unmediated African American voices were routinely silenced through the imposition of a new regime of censorship based on exile, assassination and massacre. The blues became an alternative form of communication, analysis, moral intervention, observation, celebration for a new generation that had witnessed slavery, freedom, and unfreedom in rapid succession between 1860 and 1875. Perhaps no other generation of a single ethnic group in the United States, except for Native Americans, witnessed such a tremendous tragedy in such a short period of time. Performer Cash McCall described the blues as the almost magical uncorking of the censored histories of countless people, places and events: Well, in the old days, you see, you weren’t allowed to express your feelings all that much. A lot of stuff was bottled up inside. Coming up from the old days until now … You can’t explain it in a conversation so the best way to do it is to sing.33 On the other hand, guitarist Willie Foster described them as the irrepressible voice of daily anguish: The black folks got the blues from working … You work all day long, you come home sometimes you didn’t have

A good guitarist will always try to get the best out of the instrument that they are holding in their hands. The same goes for bass guitar players.