I really don't have that much interest in stardom.

I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!

Boogie! I hate boogie, God, I mean, not the Chicago boogie like Willie Dixon or Howlin' Wolf, but all those awful white bands.

I've seen a lot of people getting into Jazzmasters because of me, and, well, people don't know what they're in for. I mean if you're looking for endless sustain, you're going to have to get it out of your hands (laughs). Because a saxophonist gets it out of his breath. You've got to work for it on the guitar - it means you have to pull it out of yourself, otherwise, what are you doing? You end up playing a lot of noise or scale exercises.

I always like junkyards. All this metal piled up - they're filled with pathos, those places. Much more pathos than most of the music I've heard. You look at it, and there's more feeling, even though it's depressing, than there is in a lot of music I hear these days. A junkyard is what it is, whereas listening to a record by, say, Styx, is something else.

Everybody's out trying to be commercial. I'm not trying to be anything, really.

I write a lot of more instrumental music than I do vocal music. It's because I come out of a background of playing piano and then playing sax for a number of years. I kind of got into rock backwards. A lot of guys go into rock and then get sick of it and then go into something else. I came the other way, so I've always just had a lot more stuff lying around.