Quotes About Guitar

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!

I actually bought a travel guitar, and that guitar is really cool. You can actually fold the guitar, and you can plug headphones into it, but it's acoustic, or semi-acoustic.

A gut-string classical Spanish guitar, a sweet, lovely little lady. The smell of it. Even now, to open a guitar case, when it's an old wooden guitar, I could crawl in and close the lid.

The weeping of the guitar begins. The goblets of dawn are smashed. The weeping of the guitar begins. Useless to silence it. Impossible to silence it. It weeps monotonously as water weeps as the wind weeps over snowfields. Impossible to silence it. It weeps for distant things. Hot southern sands yearning for white camellias. Weeps arrow without target evening without morning and the first dead bird on the branch. Oh, guitar! Heart mortally wounded by five swords.

Michael Bloomfield was the antithesis of a collector ... he didn't care how old a guitar was; all he wanted was something that sounded good when played it ... and he cared nothing about the collectibility of an instrument ... his philosophy was "A good player can make any guitar sound good" ... to Michael, a guitar was just a tool.

There happened to be guitar classes at the college, and there was a guitar teacher there with whom I used to play. In addition, I also would go out into country schools and teach little kids basic guitar and singing a few times a week.

My vocation is more in composition really than anything else-building up harmonies using the guitar, orchestrating the guitar like an army, a guitar army. ... I always felt if we were going in to do an album, there should already be a lot of structure already made up so we could get on with that and see what else happened. ... I always believed in the music we did and that's why it was uncompromising. ... I don't think the critics could understand what we were doing.

I think if you really put your mind to something you can do it. Five and a half years ago I couldn't stand on stage and play guitar. I didn't have enough talent as a kid to play guitar. I started really late. I hired a guitar teacher when I was in Nashville and I applied myself and stayed focused.

I have a lot of guitar heroes I guess, some of them are female and some of them are male. Robert Fripp is one of them, and Marc Ribot, that's another guitar hero.

It grabs me, but not as much as it grabs some of the other people that rave about them. With the Black Keys, I'm missing crescendos with the sax, keyboard or guitar solo. It never comes to me. All my favorite music is rife with crescendo and I'm not hearing enough with them. If you can get the Black Keys to hear this, tell them I offer my crescendo guitar anytime they desire it.

Chance in music doesn't have to involve the I Ching or rolling dice or throwing yarrow stalks. It can involve an out-of-tune guitar, or other impossible-to-replicate moments of awkwardness - even more so than an awkward, out-of-tune live performance, because there's something incredible about the way that an out-of-tune guitar becomes part of the song on a record. I won't be precious and say it's part of the composition - that's nonsensica l - but chance occurrences are so crucial to what's distinctive. It's the fingerprints all over so many of these recordings.

Besides being a guitar player, I'm a big fan of the guitar. I love that damn instrument.

I suppose my little Martin acoustic guitar is quickly becoming a prize possession. It's a lovely guitar. I bought it at the Cambridge Folk Festival in 2001 before I had cleaned up.

Jimi Hendrix is the greatest guitar player in the world... a guy who mastered that instrument. It was talking when he played. And when he did a solo, he made the guitar cry - or made it sound like it was coming from the devil's amplifier.

Your sound is in your hands as much as anything. It's the way you pick, and the way you hold the guitar, more than it is the amp or the guitar you use.

Never having thought of writing for the guitar, I asked Julian Bream for a chart which would explain what the guitar could do. I managed to write some rather pretty pieces for him, except that the first six notes of the first piece all need to be played on open strings. So when he begins to play the audience will probably think he's tuning the bloody thing up!

The guitar is of no great importance to me. The people it brings to me are what matter. They are what I'm extremely grateful for, because they are alive. The guitar is just an apparatus.

I do get labeled as a guitar band, but the only reason is that's the instrument I know how to play. The guitar is serving the song I'm writing. But I'm learning how to play keyboard better now so that'll start serving the song as well; it'll be another flavor. I'm not going to switch it up with big, fat drum machine beats and real swoopy synths, but yeah...

After watching a couple of live performances of bands like Nirvana, I was really excited and inspired by how raw and powerful it was. I wanted to at least aim in that direction with the guitar and do my own version of it. I know it doesn't really sound like that on the other end, but I wanted guitar, heavy rhythms, and singing to be the stamp of the whole thing.

At certain point, you realize it's easy to play music for the rest of your life: just don't sell your guitar. Maybe you get a day job, but as long as you have a guitar, you can play.

I fool around with guitar and I can fool around on piano. I don't really play either instrument although I can play a couple of songs on guitar. You don't really need to be able to play to compose. There are many composers and arrangers who work out of their heads.

My setup for a live performance lately has been just guitar and synthesizer. Sometimes I only bring one. The guitar is in pretty bad shape and isn't sounding the same. Most of the time my live approach has been pretty different from recording.

Can you imagine a guy breaking into your car, and he steals your guitar case 'cause he thinks it's a guitar, and he gets it home and opens it up and there's a rake inside it, an electric toilet plunger and a dog skull? That actually happened.

I do not consider myself a guitar player. My father is a guitar player - I'm not.

I'm glad I get singled out for my slide guitar-playing, which isn't that difficult to do. I didn't take guitar lessons, but I just love the way it sounds, almost like the human voice.

I had given up the guitar between '75 and '78. I completely lost interest. I was sick of hearing other guitar players and I was tired of my tunes.

Unless the guitar works as a color, then I don't use it, so I haven't been playing guitar too much lately.

Just as with a guitar, you can improvise a guitar solo, and they'd probably be similar each time, but they won't be exactly the same. With the word, it's probably a bit freer than that. I probably repeat myself more musically than I do verbally.

When I got my first guitar, I played along with everything I heard that had guitar in it, like the Ramones, Nirvana and Sublime, as well as whatever hip-hop and R&B stuff was on the radio.

When it came time to hire a guitar player ... I didn't even have to think about it ... Mike Bloomfield was the best guitar player I'd ever heard.

I think guitar-wise, Eric Clapton was a big influence on me. I got to spend time around him. He's kind of strange, mysterious, serious and he always has played such hot guitar.

I noticed a lot of guitar players neglected the rhythm part of rhythm guitar and decided I would try to focus in that.

I'm not that fluid when it comes to scales and modes. I just pick up the guitar and play. It's all about exploration: just tune the guitar any way you want and start playing.

There is far more sensitivity in acoustic guitar players than could ever be compared to any synthesizer. That's a personal point of view but that's the way I see it. I think that's what it's all about. The drive, the fire, the passion - it all comes out on the guitar.

When Lonnie Mack came out with the guitar instrumental "Memphis" I thought, Oh God, finally somebody we guitar players can relate to !

When I was nine years old, I started playing guitar, and I took classical guitar lessons and studied music theory. And played jazz for a while. And then when I was around fourteen years old, I discovered punk rock. And so I then tried to unlearn everything I had learned in classical music and jazz so I could play in punk rock bands.

I said this to my daughter, if you don't practice the guitar, when you get older you wouldn't be able to play it. It's that simple. If you want to play the guitar, you put a half hour in everyday, but you have to do it.

At some point, I had to make a decision: I could practice more and become a really great guitar player or I could work on writing better songs. There are only so many hours in the day, and I found writing songs more fulfilling than working on becoming this virtuoso guitar player.

Except for a few guitar chords, everything I've learned in my life that is of any value I've learned from women.

I love 'Crazy Horse,' and Neil Young is one of my favorite guitar players.

I could have probably gone on and still played the part of the guitar player of Limp Bizkit, but musically I was kind of bored. If I was to continue, it would have been about the money and not about the true music, and I don't want to lie to myself, or to them or to fans of Limp Bizkit.

I mean, the sound of an amplified guitar in a room full of people was so hypnotic and addictive to me, that I could cross any kind of border to get on there.

I used to play guitar for myself and write lyrics and listen to different styles of music.

You can be a singer, and you can be a guitar player, but putting them together is another animal.

My earliest musical memory was getting to watch my dad play drums in a local band. He's a banker by trade, but a drummer at heart. I remember seeing the guitar player do the solo from "Werewolves of London" with his teeth, and that was the moment that had me hooked.

Barney Kessel is definitely the best guitar player in this world, or any other world.

I remember feeling for the first time going somewhere where I was part of a community where I didn't feel like an outcast. I felt like I belonged. Everyone had a guitar strapped to their back.

Catfish is not playing guitar no more, he's doing like a home-front thing. He had been in the business around ten years before I got in it, so I guess he's had enough of it.