Guitar Work Quotes

My part in AC/DC is just adding the color on top.

'Purple Rain,' the album, is a great guitar record.

I think Blank Generation holds up pretty well. You listen to that with headphones and there's a lot going on there with the guitars- it's the product of a lot of fighting.

I wouldn't mind working with Queens of the Stone Age, doing some guitar stuff on that. Even Arctic Monkeys. I'd like to do be a bit of guitar with them guys. I'll play on anyone's record to be honest with you.

It was very satisfying knowing I could come in not really knowing what I was going to do, and at the end of the session feeling that I'd really done interesting guitar work and knowing that I'd really contributed to the music.

The lead guitar work is a bit repetitious, but when a song is under two minutes long, I don't have much room anyway. Thank goodness. But I've always contributed guitar parts to every band I've ever been in, so I'll always play the axe.

Usually I write on guitar.

AC/DC's 'Highway to Hell' is the greatest meshing of vocal, guitar, and content I've ever heard. That's what I aspire to.

I'm working on guitars for free, because I love working on guitars anyway.

From being in a film and shooting to just being in a studio with my guitar and musicians was a welcome change.

I got into one Metallica record. That was about it. I never got into AC/DC or Black Sabbath or any of that. I was interested in the side of heavy metal that had interesting guitar ideas, but that was a very short-lived thing.

This band - because this is myself on electric and acoustic guitars - we've done three tours together now and I really, really like it which is why I did the DVD as well.

I'm not a really good classical guitarist by any means, but what I learned from this is a way of working very slowly on solo pieces and I enjoyed working on these pieces of John's. They were not written for solo guitar but a lot of them were easy to adapt.

Yeah, on the records, the guitars are made melodic, and I try to make it memorable. There's not much just wanking, to be honest - it's mostly melodic parts. I try not to play too many notes. It's just more instrumental music. It's a totally valid criticism if you don't like that kind of thing. It also is maybe a little anachronistic or unnecessary in a certain way.

I really wasn't needed... Just straightening up riffs, that's all. Just two guitarists doing it instead of one.

Will I do another tour with Paul? Well, that's quite do-able. When we get together, with his guitar, it's a delight to both of our ears. A little bubble comes over us, and it seems effortless. We blend.

I did play every little note on the guitar on that record.

Some of the best rock riffs ever written were by Jimmy Page, and I can't really name the songs, but some of the stuff he did on his first and second records is beyond brilliant.

I'm sort of old-fashioned in the sense that I like to write something that I feel I could just perform alone, obviously, because I do that a lot in concert. So I try to make a song where there is as much that is as distinct as I can get it, just if I'm playing it or if I'm singing it. That makes me really do a lot of stuff in the guitar work when I sit and try to figure out how to indicate what sort of dynamic I'm aiming for. Where, rhythmically, I want to go. That's sort of what ties a lot of different records together, is that it's usually always based around me singing and playing a guitar.

We're looking to help our guitar buddies do their thing while at the same time we try to create something we might enjoy listening to ourselves. If anything we are trying to develop a vocabulary so we can converse more fluidly.

I played all the guitar parts except the guitar solo on 'Beat It.'

I work a couple of hours a day with a guitar or pushing words around, so over time I have a lot of material, so I don't get into this feast-or-famine situation.

I worked out the keyboard parts on the progressive rock classic 'The Lamb Lies Down on Broadway' and somehow managed to play it all on acoustic guitar.

So when I was working with Amy Winehouse on "Back To Black," you know, she had all these beautiful songs, incredibly well-written and just her on an acoustic, nylon-string guitar. And she'd play them for me, and then I would kind of drum up my idea of what I thought - make a demo with what I thought the drums should be doing, the guitars - like, quite a crude demo.