Best 1530 quotes in «guitar quotes» category

I trained as a classical guitarist but that was it.

It really shocked me just to hear of the fans' response to 'St. Anger' not having guitar solos.

I tried to make guitars that were close to what my heroes played. That's the way it's done. My experience is that you have to do it like a musician. You have to learn the language before you can learn to be a novelist.

I tried when I was 13, when my grandparents gave me an acoustic guitar, and I tried for a year. It hurt so much to play. I mean, the fingertips hurt so much, I gave up.

I try not to punish the audience by making them listen to too much acoustic guitar.

I try to become a singer. The guitar has always been abused with distortion units and funny sorts of effects, but when you don't do that and just let the genuine sound come through, there's a whole magic there.

It's about the time I was riding my Motorcycle, going down a mountain road at 150 miles an hour, playing my guitar.

It's a cocktail-party circuit in D.C., That guy who couldn't master the guitar and get in a band and get laid, he ends up there. Gary Condit make sense to me. He's away from his family, he's in D.C. - if he was a car dealer in the [San Fernando] Valley somewhere out there, he'd be the guy who was trying to get laid by offering you the free undercoating package.

It's a good feeling to be at a place where you know who you are as an artist. I didn't know back then, I just wanted to give my family a better life and myself. I wanted to sing, but I didn't know as an artist who I wanted to be and because of all those experiences, it helped shape me into who I am and what I've now realized and what it is that brings me happiness which is when I pick up the guitar and do records.

It's a guy thing, playing the guitar. Being a female and trying to go to the same auditions as the guys, it's pretty hard.

It's always a pleasure when you can compose guitar parts from a strong vocal and not just put the melody on top of guitar riffs.

It's always funny to me when people use the phrase 'Best guitar player in the world'. There are too many variables such as technique, uniqueness, emotional investment in the notes, etc. But If I had to pick one, it would be Tommy Emmanuel. Watching him perform can be a study in artistic and virtuosic human achievement.

It's amazing. It's actually build from old Siemens Telefunken transistors from the 60ties. There is like 10 in there. It's the most powerful distortion you can have. It does not only do distortion, it does so many weird things. You can't control it, it's sound different all the time. But it's an endless source for fantastic sounds. For example the track "Transit" is entirely made with this box. You have to put the guitar sound in. It's like a pedal.

It's annoying when you've got a guitar and you're working on music and then you have to go and do the shopping or someone calls your mobile and you get distracted or you have to go out and do something. So it's nice to just concentrate on it one hundred percent and give your all to it.

It's cool. One of the dudes who I made my album with who I'm a very good friend of for quite a while, I lived on his sofa for a while. And he's a professional guitar player, and he played for One Direction. And so I'd wake up on a sofa sometimes with Harry from One Direction on the other sofa, and I'd kind of be like 'you alright?'

It seemed so wimpy at first when I started to play [guitar]. So I started playing loud with lots of effects just to try to mimic the dynamic [of the drums]. Drums seemed a lot more expressive. [I was] Trying to emulate the feeling of playing the drums on the guitar - I guess that's why I played it so loud.

It's harder to play drums than guitar, physically. I'm always kind of on the edge. I guess that's how I play everything: on the edge of my ability.

It's hard to go out in front of people with an acoustic guitar and improvise for 30 or 40 minutes, but I had a compulsion to do it. I just had to in a way that I can't really explain.

It's hard to say this about a guy like Eddie Van Halen, one of the greatest guitar players who ever lived, but he's really limited to a style and they're locked into it.

It's important to keep your creative muscle strong and working. My most inspiring method though is just sitting down with an acoustic guitar and coming up with melodies. It's what I've been doing nice I was nine years old.

It's interesting to see how acoustic guitars are emerging as a primary instrument once again ... reminds me very much of what Jim Messina and I were doing back then. You can't get too far away from an acoustic guitar

It's just me and my guitar, and the rhythm's from there, and the poetry of life.

Its just something Ive always done. In South Texas, the first guitar you get is a Mexican guitar. And the first one I got, the first thing I did was take it apart.

It's like I'll sit down and put my hands on the piano or the guitar, and then I'll hear a sound or I'll feel a chord that will resonate and then I'll get something happening in my voice. My voice is like a car that I get into and drive but I don't know where I'm going. And I record everything. And often, I sort of get into a state, a creative state that is, where I'm just feeling around melodically, and playing things off the top of my head. Then I go back and listen to it and for the first time, hear what I just did. It's like Elvis has left the building while the thing is happening.

It's much easier to work on other people's music and play in other people's bands as a guitar player instead of being the main songwriter and singer. That's a really big job to do that.

It's not crazy to want to have certain songs be developed harmonically and still want to make noise with the guitar. And you can have both.

It's one that still happens, actually... forgetting a part of a difficult piece. Usually, the chances of it happening are directly proportional to how quiet and attentive the audience is.

It's not like you're being fake, it's just the way you color it, like a guitar player uses pedals or different effects. That's why I get so mad about people who are down on vocal reverb. It's not a crutch, people, it's an aesthetic choice!

It's part of our nature. As much as I love (brother and guitarist Eddie), if you put us in a room with no one else for 15 minutes, we'd be at each other's throats.

It's really very easy for me to be in The Cardinals, because I bring my voice, my guitar, and my songs to them, and then we all play around to find out what works.

It's really cool what you can do with a guitar and a Fender Twin and a space echo.

It's quite similar to guitar solos, only with programming you have to use your brain. The most important thing is that it should have some emotional effect on me, rather than just, 'Oh, that's really clever.'

It's really funny, I think to myself... I've got my same guitar and amp, it's just a bigger room now! Some things don't change.

It's very important to have a good song - one where you can strip away all the production and just play it on guitar or at the piano. It has to hold its own. That's why I've put videos online with acoustic versions of my songs, so you can hear them in their original form.

It's the faster bands that made me want to play guitar, bands like The Jam.

It's the hillbilly rock, beat it with a drum. Playin' them guitars like shootin from a gun. Keepin' up the rhythm, steady as a clock. Doin' a little thing called the hillbilly rock.

It was 2002, we all got guitars for Christmas and started playing in my garage that summer, rehearsed there and in a warehouse for a bit for about a year. We did our first gig in June 2003 and we played a few gigs in and around Sheffield for a bit then started doing gigs outside of Sheffield about this time last year, recording demos while all this was going on.

It took me to about maybe 16, 17 or 18 or something to realise I was absolutely useless at everything else except for playing guitar and writing words

It was great to do August Rush and have all the challenges of playing that character, especially the American accent for the first time and also playing the guitar and the conducting I had to do.

It was by listening to Goodman's band, that I began to notice the guitarist Charlie Christian, who was one of the first musicians to play solos in a big band set-up.

It was endlessly amusing to me to try to imitate John Lennon and Paul McCartney's harmonies using the guitar.

It was never my first choice to be a singer/guitar player. I really wanted to play drums.

It was cool at the rock camp - girls could just be themselves and they could be silly, they could roll around on the floor playing guitar.

It wasn't until I moved to Nashville that I realized what an amazing community it is. It's the thing I've been missing my whole career, the feeling of being able to sit around with a guitar and have people know each other's songs and know songs from people who've influenced all of us. When I moved here pretty early on Vince Gill started calling me to do guitar pulls, and I thought, gosh, this is just like heaven on earth down here.

It was Scotty Moore's guitar riff [in "I Want You, I Need You, I Love You"] when he was doing The Steve Allen Show that got me into rock music.

It was quite nice to get an opportunity to introduce on the second album something a bit fresh for us. For the rest of the world, perhaps it's not, because guitar is quite ubiquitous, but for us it's exciting to just have guitar on the record.

It was really fun. Well, Bobby was just basically a folk singer. He didn't play with any bands or anything, like all the rest of us. Just played his guitar and sang his songs.

It was really hard to find people to come over and play guitar and sing and write songs together. So that turned me into a songwriter that way, just so I could be able to play with other people.

It was shocking to see Nirvana play, because it was like, "Here's this little guy with a monster-guitar sound." And it was heavier than Black Sabbath. That was shocking.

I used to be a lot more engaged on an improvisational level than other people. I was always on tour and always had a guitar in my hands, and when I went back home, my battery was at full charge. I had a lot of energy to get off, just impulses that I could draw upon.