Slide Guitar Quotes

If you play "I Don't Want To Know" by Fleetwood Mac loud enough -- you can hear Lindsey Buckingham's fingers sliding down the strings of his acoustic guitar. ...And we were convinced that this was the definitive illustration of what we both loved about music; we loved hearing the INSIDE of a song.

Jay took out his guitar. He was decent at it, but the piano was his best talent. He couldn’t get a certain riff right, so he handed the instrument to Kaidan, and my heart flipped. I recalled him saying he played guitar, but I’d never actually seen or heard him play. Kaidan began to pick at each string, testing and tuning with his full attention. I watched the way his hands moved across the wood and strings, gently, reverently, his body seeming to curl around it as if it were a part of him. . . . I felt my hands getting sweaty, because watching Kaidan get lost in music did crazy things to me. My breathing became ragged and I couldn’t take my eyes off him. He looked up at that moment and caught me staring hard. He knew. He knew what it did to me! I could tell because his badge expanded. He angled himself away from the others and signed to me, I want to be alone with you tonight. Patti did have a lot of guests staying in the house. I signed back, I’ll work on it. “Excellent,” he whispered, a hot grin sliding onto his face.

And it may be that a crowd at a particular moment of history creates the object to justify its gathering, as it did at the first Human Be-In and Monterey Pop and Woodstock. Or it may be that two generations of war and surveillance had left people craving the embodiment of their own unease in the form of a lone, unsteady man on a slide guitar.

Brian came in heavy at that moment on his guitar, the rapid, high-pitched squeal ranging back and forth as his fingers flew along the frets. As the intro's tempo grew more rapid, Bekka heard Derek's subtle bass line as it worked its way in. After another few seconds Will came in, slow at first, but racing along to match the others' pace. When their combined efforts seemed unable to get any heavier, David jumped into the mix. As the sound got nice and heavy, Bekka began to rock back-and-forth onstage. In front of her, hundreds of metal-lovers began to jump and gyrate to their music. She matched their movements for a moment, enjoying the connection that was being made, before stepping over to the keyboard that had been set up behind her. Sliding her microphone into an attached cradle, she assumed her position and got ready. Right on cue, all the others stopped playing, throwing the auditorium into an abrupt silence. Before the crowd could react, however, Bekka's fingers began to work the keys, issuing a rhythm that was much softer and slower than what had been built up. The audience's violent thrash-dance calmed at that moment and they began to sway in response. Bekka smiled to herself. This is what she lived for.

Jazz presumes that it would be nice if the four of us--simpatico dudes that we are--while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time--while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works--but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns. Rock-and-roll, on the other hand, presumes that the four of us--as damaged and anti-social as we are--might possibly get it to-fucking-gether, man, and play this simple song. And play it right, okay? Just this once, in tune and on the beat. But we can't. The song's too simple, and we're too complicated and too excited. We try like hell, but the guitars distort, the intonation bends, and the beat just moves, imperceptibly, against our formal expectations, whetehr we want it to or not. Just because we're breathing, man. Thus, in the process of trying to play this very simple song together, we create this hurricane of noise, this infinitely complicated, fractal filigree of delicate distinctions. And you can thank the wanking eighties, if you wish, and digital sequencers, too, for proving to everyone that technologically "perfect" rock--like "free" jazz--sucks rockets. Because order sucks. I mean, look at the Stones. Keith Richards is always on top of the beat, and Bill Wyman, until he quit, was always behind it, because Richards is leading the band and Charlie Watts is listening to him and Wyman is listening to Watts. So the beat is sliding on those tiny neural lapses, not so you can tell, of course, but so you can feel it in your stomach. And the intonation is wavering, too, with the pulse in the finger on the amplified string. This is the delicacy of rock-and-roll, the bodily rhetoric of tiny increments, necessary imperfections, and contingent community. And it has its virtues, because jazz only works if we're trying to be free and are, in fact, together. Rock-and-roll works because we're all a bunch of flakes. That's something you can depend on, and a good thing too, because in the twentieth century, that's all there is: jazz and rock-and-roll. The rest is term papers and advertising.

And it may be that a crowd at a particular moment of history creates the object to justify its gathering, as it did at the first Human Be-In and Monterey Pop and Woodstock. Or it may be that two generations of war and surveillance had left people craving the embodiment of their own unease in the form of a lone, unsteady man on a slide guitar. Whatever

In a cacophony of shouting and kicking and pelvic-thrusting and flashing lights, the song blasts into the guitar solo, and there’s not a single person in the bar in their seat, not when a Prince of England is knee-sliding across the stage, playing passionate and somewhat erotic air guitar.

So there’s a video deep in the depths of YouTube of the three of us lip-syncing to the Jonas Brothers and pretending to play guitars and drums in Hailey’s bedroom. She decided she was Joe, I was Nick, and Maya was Kevin. I really wanted to be Joe – I secretly loved him the most, but Hailey said she should have him, so I let her. I let her have her way a lot. Still do. That’s part of being Williamson Starr, I guess. “I so have to find that video,” Jess says. “Nooo,” Hailey goes, sliding off the tabletop. “It must never be found.” She sits across from us. “Never. Ne-ver. If I remembered that account’s password, I’d delete it.” “Ooh, what was the account’s name?” Jess asks. “JoBro Lover or something? Wait, no, JoBro Lova. Everybody liked to misspell shit in middle school.

A boat was a place where no one could reach you, a place where some boy couldn't slide into your path to make you a prop in his joke. Even when the boys rowed past us, all we'd do was holler or chant; we didn't have to drop everything to watch them, which was the usual expectation. (Do you remember, for instance, the fake Woodstock that Marco Washington and Mike Stiles set up on the quad? They hauled couches from the dorms, used extension cords for guitars and stand mics. I joined the audience to listen to their terrible playing because it was the thing to do. Just as Open Dorm nights were for girls to feign interest in boys playing video games. Just as the only sporting events with full stands were for boys' teams. At the time, what rankled was the idea that we were supposed to see these boys as the stars, to fall at their sweaty feet. What bothers me now is those boys internalizing girls as audience, there only to act as mirrors, to make their accomplishments realer.)

Christ, I’m tired. I need sleep. I need peace. I need for my balls to not be so blue they’re practically purple. As purple as Sarah Von Titebottum’s— My mind comes to a screeching halt with the unexpected thought. And the image that accompanies it—the odd, blushing lass with her glasses and her books and very tight bottom. Sarah’s not a contestant on the show, so I’m willing to bet both my indigo balls that there’s not a camera in her room. And, I can’t believe I’m fucking thinking this, but, even better—none of the other girls will know where to find me—including Elizabeth. I let the cameras noisily track me to the lavatory, but then, like an elite operative of the Secret Intelligence Service, I plaster myself to the wall beneath their range and slide my way out the door. Less than five minutes later, I’m in my sleeping pants and a white T-shirt, barefoot with my guitar in hand, knocking on Sarah’s bedroom door. I checked the map Vanessa gave me earlier. Her room is on the third floor, in the corner of the east wing, removed from the main part of the castle. The door opens just a crack and dark brown eyes peer out. “Sanctuary,” I plead. Her brow crinkles and the door opens just a bit wider. “I beg your pardon?” “I haven’t slept in almost forty-eight hours. My best friend’s girlfriend is trying to praying-mantis me and the sound of the cameras following me around my room is literally driving me mad. I’m asking you to take me in.” And she blushes. Great. “You want to sleep in here? With me?” I scoff. “No, not with you—just in your room, love.” I don’t think about how callous the words sound—insulting—until they’re out of my mouth. Could I be any more of a dick? Thankfully, Sarah doesn’t look offended. “Why here?” she asks. “Back in the day, the religious orders used to give sanctuary to anyone who asked. And since you dress like a nun, it seemed like the logical choice.” I don’t know why I said that. I don’t know what’s wrong with me. Somebody just fucking shoot me and be done with it. Sarah’s lips tighten, her head tilts, and her eyes take on a dangerous glint. I think Scooby-Doo put it best when he said, Ruh-roh. “Let me make sure I’ve got this right—you need my help?” “Correct.” “You need shelter, protection, sanctuary that only I can give?” “Yes.” “And you think teasing me about my clothes is a wise strategy?” I hold up my palms. “I never said I was wise. Exhausted, defenseless, and desperate.” I pout . . . but in a manly kind of way. “Pity me.” A smile tugs at her lips. And that’s when I know she’s done for. With a sigh, she opens the door wide. “Well, it is your castle. Come in.” Huh. She’s right—it is my castle. I really need to start remembering that

I want to show you something,” I say. “But I’m afraid you’re going to be angry at me.” She’s suddenly on guard. “Why? What is it?” I turn my wrist over and point to her tattoo on my inner wrist. It’s a bare spot I’d been saving for something special. She leans toward it, and all of her breath rushes from her body. I can feel it across my hand when she exhales. “That’s my tat,” she says. She takes my hand in hers and lifts it toward her face. “Are you angry?” I ask. She looks up at me briefly and then back down at the tattoo. She’s taking in every facet of it. Her hand trembles as she holds tightly to mine. “You changed it.” “I felt like you needed a way out.” I put it on my wrist because I was intrigued by the secrets inside. It’s art, and I appreciate art in all its forms. She swallows. Hard. Then her eyes start to fill with tears. She blinks them back for as long as she can. And then she gets up and runs toward the bathroom. Shit. Now I fucked up. I made her cry. She runs by the waitress, who startles. The waitress starts in my direction, a sway in her hips, but I get up and follow Kit. I stop outside the door to the ladies’ room and press my hand against it. I don’t know what I’m waiting for. She’s in there crying, and I obviously can’t hear her to be sure she’s all right. Fuck it. I’m not leaving her in there upset. I push through the door, and I don’t see any feet in the stalls when I bend over. Where the fuck did she go? I push doors open, but the last one is locked. I stand up on my tiptoes and look over the top. She’s standing there with her forearms pressed against the wall, her head down between her arms, and her back is shaking. She’s crying. I knock on the stall door and say, “Let me in, Kit.” The door doesn’t open. I step back onto my tiptoes and look over. She’s still crying. “Let me in,” I repeat. She doesn’t move, so I walk into the stall next to hers and stand up on the toilet. I rock the partition between the stalls gently. It might hold my weight. There’s only one way to find out. I hoist myself up and over the wall, bringing my legs over the top slowly and carefully, and then I hop down. Before I can reach for her, she’s in my arms, her hands sliding around my neck. She’s still sobbing, and her body shakes against mine. I tilt her face up because I can’t see her lips to tell if she’s saying anything to me or not. I need to apologize. I didn’t expect her to get so upset. I’ll have it covered up with something else if it bothers her this much. My heart twists inside my chest. I really fucked up. “I’m sorry,” I tell her, looking down into her face. Her cheeks are soaked with tears, and she freezes, looking up at me. I can feel her like a heartbeat in my chest. She steps on the toes of my boots and then rocks onto her tiptoes. She pulls my head down with a hand at the back of my neck. Her brown eyes are smoldering, and black shit is running down her cheeks again, but I don’t care. She’s never looked more beautiful to me. I hold her face in my hands and wipe beneath her eyes with my thumbs. Her breath tickles my lips, and she leans even closer. She’s standing on my fucking boots, and I don’t care. She can do whatever it takes to get closer to me. “Why did you do it?” she asks, moving back enough that I can see her lips. I already told her: I thought she needed a way out. All I added to the tattoo was a keyhole right in the center of the guitar. It’s a simple design really. “I don’t know,” I say. I want to explain it to her, but I can’t. Not right now.

It ain't my idea to leave before dawn. My ole lady decided to visit Nana, that's why the house stinks of hairspray. You know why she's leaving early: so nobody sees her scurry through town on foot. All she wants is for them to see her arrived, all hunky-dory. Not scurrying. It's a learning I made since the car went. 'Well I just can't believe there isn't a pair of Tumbledowns around town, I mean, I'll have to try down by Nana's.' She gives off breathy noises, and flicks her fingertips through my hair. Then she takes a step back and frowns. It means goodbye. 'Promise me you won't miss your therapy.' An electric purple sky spills stars behind the pumpjack, calling home the last moths for the night. It reminds me of the morning when ole Mrs Lechuga was out here, all devastated. I try not to think about it. Instead I look ahead to today. Going to Keeter's is a smart idea; if anybody sees me out there, they'll say, 'We saw Vernon out by Keeter's,' and nobody will know if they mean the auto shop, or the piece of land. See? Vernon Gray-matter Little. In return, I've asked Fate to help me solve the cash thing. It's become clear that cash is the only way to deal with problems in life. I even scraped up a few things to pawn in town, if it comes to that. I know it'll come to that, so I have them with me in my pack – my clarinet, my skateboard, and fourteen music discs. They're in the pack with my lunchbox, which contains my sandwich, the two joints, and a piece of paper with some internet addresses on it. As for the joints and the piece of paper, I heard the voice of Jesus last night. He advised me to get wasted, fast. If at first you don't succeed, he said, get wasted off your fucken ass. My plan is to sit out at Keeter's and get some new ideas, ideas borne out of the bravery of wastedness. I ride down empty roads of frosted silver, trees overhead swish cool hints of warm panties in bedclothes. Liberty Drive is naked, save for droppings of hay, and Bar-B-Chew Barn wrappers. In this light you can't see the stains on the sidewalk by the school. As the gym building passes by, all hulky and black, I look the other way, and think of other things. Music's a crazy thing, when you think about it. Interesting how I decided which discs not to pawn. I could've kept some party music, but that would've just tried to boost me up, all this thin kind of 'Tss-tss-tss,' music. You get all boosted up, convinced you're going to win in life, then the song's over and you discover you fucken lost. That's why you end up playing those songs over and over, in case you didn't know. Cream pie, boy. I could've kept back some heavy metal too, but that's likely to drive me to fucken suicide. What I need is some Eminem, some angry poetry, but you can't buy that stuff in Martirio. Like it was an animal sex doll or something, you can't buy angry poetry. When you say gangsta around here, they still think of Bonnie & fucken Clyde. Nah, guess what: I ended up keeping my ole Country albums. Waylon Jennings, Willie Nelson, Johnny Paycheck – even my daddy's ole Hank Williams compilation. I kept them because those boys have seen some shit – hell, all they sing about is the shit they've seen; you just know they woke up plenty of times on a wooden floor somewhere, with ninety flavors of trouble riding on their ass. The slide-guitar understands your trouble. Then all you need is the beer.

... something inside me seemed to shift and slide, and for a moment I felt nauseous, and panic sent a hot bead rolling down my spine. ... Slowly the nausea gave way to a stifling sensation, as if an invisible caul were being pulled down over my head and shoulders.

Dan had brought a Casio CZ series portable and an amp to play it through. Carla had a kobassa. “It’s the only hand percussion in the house,” she said ruefully. She gave it a quick slap-and-slide, rattle-and-hiss, across her hand. “I could have brought the snare, I guess, but that just makes me wish for the whole kit.” Eddi shook her head. “Violent Femmes used to use a washtub.” “I don’t have a washtub. Maybe I’ll bear on your head, instead.” “It’s a thought. I’m not using it for anything.” Carla looked curious, but Eddi turned quickly to unpack her guitar. Dan gave her an E to tune to. Now why did I say that? she wondered v I didn’t mean it. Did I? She remembered suddenly, unbidden, the phouka saying love made mortals stupid. Damn phouka.

If the human race survives, a group of archeologists will someday discover a circle of the tools I’ve launched into the air in frustration. They’ll conclude that a small cult called "the Tool Hurlers" once occupied this ground. I've learned to leave skilled work to young men. Muscular types with tool belts and tattoos, and a barely concealed disdain for the tottering old fool who doesn't realize a simple clockwise twist of an 11/16ths deep socket wrench would have fixed the problem. I do actually own that wrench, but I use it for slide guitar.

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.

And it may be that a crowd at a particular moment of history creates the object to justify its gathering, as it did at the first Human Bi-In and Monterey Pop and Woodstock. Or it may be that two generations of war and surveillance had left people craving the embodiment of their own unease in the form of a lone, unsteady man on a slide guitar. Whatever the reason, a swell of approval palpable as rain lifted from the center of the crowd and rolled out toward its edges, where it crashed against buildings and water wall and rolled back at Scotty with redoubled force, lifting him off his stool, onto his feet (the roadies quickly adjusting the microphones), exploding the quavering husk Scotty had appeared to be just moments before and unleashing something strong, charismatic, and fierce. Anyone who was there that day will tell you the concert really started when Scotty stood up." (p. 332)

Crossing the Golden Gate Bridge represents a transition, in the metaphysics of the region, there to be felt even by travelers unwary as Zoyd. When the busful of northbound hippies first caught sight of it, just at sundown as the fog was pouring in, the towers and cables ascending into pale gold otherworldly billows, you heard a lot of ''Wow,'' and ''Beautiful,'' though Zoyd only found it beautiful the way a firearm is, because of the bad dream unreleased inside it, in this case the brute simplicity of height, the finality of what swept below relentlessly out to sea. They rose into the strange gold smothering, visibility down to half a car length. . . . Trees. Zoyd must have dozed off. He woke to rain coming down in sheets, the smell of redwood trees in the rain through the open bus windows, tunnels of unbelievably tall straight red trees whose tops could not be seen pressing in to either side. . . . The storm lashed the night, dead trees on slow log trucks reared up in the high-beams shaggy and glistening, the highway was interrupted by flooding creeks and minor slides that often obliged the bus to creep around inches from the edge of Totality. Aislemates struck up conversations, joints appeared and were lit, guitars came down from overhead racks and harmonicas out of fringe bags, and soon there was a concert that went on all night, a retrospective of the times they'd come through more or less as a generation, the singing of rock and roll, folk, Motown, fifties oldies, and at last, for about an hour just before the watery green sunrise, one guitar and one harmonica, playing the blues.

One day in the next five hundred billion years, while the probes complete one full circuit of the Milky Way, maybe they’ll stumble upon intelligent life. In forty thousand years or so, when the two probes sail close enough to a planetary system, maybe just maybe one of these plants will be home to some life form which will spy the probe with whatever it has that passes for eyes, stay its telescope, retrieve the derelict fuel-less old probe with whatever it has that passes for curiosity, lower the stylus (supplied) to the record with whatever it has that passes for digits, and set free the dadadadaa of Beethoven’s Fifth. It’ll roll like thunder through a different frontier. Human music will permeate the Milky Way’s outer reaches. There’ll be Chuck Berry and Bach, there’ll be Stravinsky and Blind Willie Johnson, and the didgeridoo, violin, slide guitar and shakuhachi. Whale song will drift through the constellation of Ursa Minor. Perhaps a being on a planet of the star AC +793888 will hear the 1970s recording of sheep bleat, laughter, footsteps, and the soft pluck of a kiss. Perhaps they’ll hear the trundle of a tractor and the voice of a child. When they hear on the phonograph a recording of rapid firecracker drills and bursts, will they know that these sounds denote brainwaves? Will they ever infer that over forty thousand years before in a solar system unknown a woman was rigged to an EEG and her thoughts recorded? Could they know to work backwards from the abstract sounds and translate them once more into brainwaves, and could they know from these brainwaves the kinds of thoughts the woman was having? Could they see into a human’s mind? Could they know she was a young woman in love? Could they tell from this dip and rise in the EEG’s pattern that she was thinking simultaneously of earth and lover as if the two were continuous? Could they see that, though she tried to keep her mental script, to bring to mind Lincoln and the Ice Age and the hieroglyphs of ancient Egypt and whatever grand things have shaped the earth and which she wished to convey to an alien audience, every thought cascaded into the drawn brows and proud nose of her lover, the wonderful articulation of his hands and the way he listened like a bird and how they had touched so often without touching. And then a spike in sound as she thought of that great city Alexandria and of nuclear disarmament and the symphony of the earth’s tides and the squareness of his jaw and the way he spoke with such bright precision so that everything he said was epiphany and discovery and the way he looked at her as though she were the epiphany he kept on having and the thud of her heart and the flooding how heat about her body when she considered what it was he wanted to do to her and the migration of bison across a Utah plain and a geisha’s expressionless face and the knowledge of having found that thing in the world which she ought never to have had the good fortune of finding, of two minds and bodies flung at each other at full dumbfounding force so that her life had skittered sidelong and all her pin-boned plans just gone like that and her self engulfed in a fire of longing and thoughts of sex and destiny, the completeness of love, their astounding earth, his hands, his throat, his bare back.