Yquotes.com

 

"He was an extraordinary bloke. First of all he was very funny. He was straight but very camp. [He] came in and Visconte said, ‘Right, what are we doing?’. He said: ‘Well I haven’t got any material, I’ve just got one guitar riff’. So he played us this guitar riff. It sounded a bit like Chuck Berry to me but I didn’t say anything. He went out with the band and after two hours he said, ‘Right, got a song’. So we recorded it and took a few takes. He then said, ‘Right I’ve got a bit of a tune, just give me half an hour’. In 10 minutes he came back and said, ‘Right I’ve got the lyrics and got the tune’. So he’d written Get It On in 10 minutes basically. He went out there, sang it and in four or five takes we’d got it. There it was. The guy was absolutely astonishing."

 

Martin Rushent

» Martin Rushent - all quotes »

Similar quotes

 

What interested me about Chuck Berry was the way he could step out of the rhythm part with such ease, throwing in a nice, simple riff, and then drop straight into the feel of it again. We used to play a lot more rhythm stuff. We'd do away with the differences between lead and rhythm guitar. You can't go into a shop and ask for a "lead guitar". You're a guitar player, and you play a guitar.

 

Keith Richards

 

"Tommy (Victor of the band Prong) didn't rip off my sound. I asked him to do some stuff for me for the Argyle Park project. He and I worked on what he would actually do. We decided vocals on one song and guitar on another. He actually wrote the riff to 'Doomsayer'. A few months later, he told me he wanted to use the riff for the upcoming Prong CD. No problem."

 

Klayton

 

The first time I saw her perform — she must’ve been 15, maybe 14 — she got up in a club in Dallas, sat in with her guitar teacher’s band, played "The Wind Cries Mary" and just blew everybody away. ... At that time she was very shy and diminutive, except when you listened to her guitar playing. ... She’s physically a very intense player. She takes a kind of ferocious approach to the technique of the guitar, a real high energy.

 

St. (musician) Vincent

 

What I do when I write is that I'll do a raggedy, rough version just to hear the chorus, just to see how much I like the chorus. If it works for me that way when it's raggedy, then I'll know it will just work... Listen to that, that's at home. Janet, Randy, Me... Janet and I are going "Whoo, Whoo... Whoo, Whoo..." I do that same process with every song. It's the melody, it's the melody that's most important, If the melody can sell me, then I'll go to the next step. The idea is to transcribe from what's in your mentality onto tape. If you take a song like "Billie Jean," Where the bass line is the prominent, dominant piece, the protagonist of the song, the main driving riff that you hear, getting the character of the riff to be just the way you want it to be, that takes a lot of time. Listen, you're hearing four basses on there, doing four different personalities, and that's what gives it character, but it takes a lot of work.

 

Michael Jackson

 

There's something really personal about your voice, where if people talk shit on your guitar, "Ugh, he played out of tune," etc., you can, in your head, blame it on something else, but when you f**k up with your singing, that's part of you [...] So I guess I'm an insecure enough dude that I just went back and really studied and tried to sing better.

 

Patrick Stump