I went pretty much for one tone, and I knew at that time that I wanted to play a Rickenbacker.

And I now think that Stratocasters and Telecasters are way cool.

I'm like a twenty-two-year-old kid in a new band trying to get noticed and break through, because the vast majority of people have never seen me play live.

On Eye of the Zombie, I had so-called studio musicians.

I usually destroy unreleased material. It has a way of coming back to haunt you.

I stuck with that size because I could bend the strings so well, and somewhere along the line I must have gotten it into my mind that I had small hands, so I was thinking I'd never be able to play a full-scale guitar, but I also felt like I was cheating or cutting corners.

The only sliding I did was on the kind of instrument that you put on your lap; no Spanish electrics.

No, but I've always felt that with true talent, and a commitment to hard work, it is possible to achieve an enduring respect and appreciation. In other words, I don't take my fans for granted.

The ones I have got great necks; of course, all of the Fenders from that era are incredible.

The Telecaster doesn't really sound that good for the kind of rock and roll that a lot of people played.

I've also become much more the musician I've always wanted to be.

I don't know that all the demons have been beaten, but I'm very, very proud of those songs.

I'm now comfortable playing a lot of the old songs, and I've gotten out a lot of the old equipment.

You should play with real musicians; the best music comes from real people interacting with each other.

Now that I'm older, I like almost anything that's done well, even surf music and instrumentals; I really enjoyed the interviews with the Ventures in your magazine.

When I made Blue Moon Swamp, there was a lot of trial and error; I was trying to find people who would be simpatico with my style, and with what I had in mind for the album.

I wrote that song for my wife, and it's what some guy who's sitting under a tree would be singing to the woman of his life, telling her how wonderful she is. To me, that's more lasting than something that sounds like it belongs on a movie soundtrack.

That song has the full extent of my mandolin abilities; I'm not a good mandolin player at all.

I work hard at that, but the fact that there are a lot of good songs means there are also a lot of really bad songs I've written that you never hear.

But I think beautiful is simple and elegant, like a ballad with simple harmony.

Even though I have often recorded alone, I still feel the best music is made by musicians playing off each other.

I went pretty much for one tone, and I knew at that time that I wanted to play a Rickenbacker.

There's just not a lot of guys around playing like that these days; a lot of steel players are plugging into stomp boxes, trying to sound like Jeff Beck on a steel guitar.

I've studied a lot of great people over the years - Pete Seeger, James Brown - and tried to incorporate elements that I've admired, though I can't say I dance like James.

I thought what I was good at doing was playing real simple guitar licks, since I'd cut my teeth on what Duane Eddy was doing; licks that were simple but had staying power.

Washburn's an old American name, but this one was assembled overseas.

I'm much more energetic now; you might say live performance is my mission.

Even though James Burton was my idol, I didn't think I could carry his shoes back then.

Sometimes I think life is just a rodeo the trick is to ride and make it to the bell.

Sometimes I think life is just a rodeo, the trick is to ride and make it to the bell.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

A play is much easier to maintain your personal life with because if you're rehearsing, you're working like from 11 to 6 or 11 to 5 and you get to have your whole morning and your whole evening. When you're doing the play, you have all day.

I'd like to one day play Amanda, the mother, in The Glass Menagerie.

I couldn't be happier about being a part of 'Hunger Games' and to play Katniss. I have a huge responsibility to the fans of this incredible book and I don't take it lightly. I will give everything I have to these movies and to this role to make it worthy of Suzanne Collins' masterpiece.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

Genius is not a possession of the limited few, but exists in some degree in everyone. Where there is natural growth, a full and free play of faculties, genius will manifest itself.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

If Davis Cup was a little bit less or once every two years, I would be more inclined to play. But the way it is now, it is too much tennis for me.

I remember him watching me through the crack of a door singing with a hairbrush. I was in front of his mirror. I think he wanted me to sing. He would get me on the table and make me sing sometimes or play the piano. He was very encouraging on that front.

If you watch a game, it's fun. If you play it, it's recreation. If you work at it, it's golf.

You have to like the characters you play.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

The value of music is to be able to play one note at the right time in the right way.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

Well, I play Jews and parrots. Parrots are how I've branched out.

We just have to get it going and play hard every time out.