I think the thing that I got most from working with Frank Zappa is that I was able to see someone who completely independent. The most beautiful thing about Frank was that he was completely in the moment and present and eternally creative.

Ray and I do not draw salaries. Any profits will be re-invested into marketing the music we believe in.

If you want to play something that you hear, you need to listen with your mind's eye. You've heard of the mind's eye, right? Your mind has an ear too. It's a kind of listening, but it's not using your ears to listen. It's listening with your inner ear, and that's what you want to translate onto the guitar.

Possessing a healthy imagination is a necessary ingredient for creativity.

I think the thing that I got most from working with Frank Zappa is that I was able to see someone who completely independent. The most beautiful thing about Frank was that he was completely in the moment and present and eternally creative.

I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.

There's very notable dynamics in all of the collaborations I've done. It's hard to say if one is more important than the other, but if I had to think of all situations and point to one band that I enjoyed most it would be when I was eight years old. I had a band with my little sister and the kid across the street. We sat around all day playing music and it was bliss. I didn't have any expectations or do it for anyone or worry about selling an album. That was really my favorite band. We were called Hot Chocolate.