You should play with real musicians; the best music comes from real people interacting with each other.
But I think beautiful is simple and elegant, like a ballad with simple harmony.
I'm much more energetic now; you might say live performance is my mission.
Even though I have often recorded alone, I still feel the best music is made by musicians playing off each other.
I'm now comfortable playing a lot of the old songs, and I've gotten out a lot of the old equipment.
I stuck with that size because I could bend the strings so well, and somewhere along the line I must have gotten it into my mind that I had small hands, so I was thinking I'd never be able to play a full-scale guitar, but I also felt like I was cheating or cutting corners.
No, but I've always felt that with true talent, and a commitment to hard work, it is possible to achieve an enduring respect and appreciation. In other words, I don't take my fans for granted.
There's just not a lot of guys around playing like that these days; a lot of steel players are plugging into stomp boxes, trying to sound like Jeff Beck on a steel guitar.
I'm like a twenty-two-year-old kid in a new band trying to get noticed and break through, because the vast majority of people have never seen me play live.
I don't know that all the demons have been beaten, but I'm very, very proud of those songs.
On Eye of the Zombie, I had so-called studio musicians.
The Telecaster doesn't really sound that good for the kind of rock and roll that a lot of people played.
Now that I'm older, I like almost anything that's done well, even surf music and instrumentals; I really enjoyed the interviews with the Ventures in your magazine.
I work hard at that, but the fact that there are a lot of good songs means there are also a lot of really bad songs I've written that you never hear.
That song has the full extent of my mandolin abilities; I'm not a good mandolin player at all.
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