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.

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.

The Lord doesn't like us to be dead. Be alive. Sometimes I dance to the glory of the Lord, because He said so.

I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.

Dance is very, very old. With Louis XIV at Versailles is where ballet started.

I cannot sing, dance or act; what else would I be but a talk show host.

No matter how close to yours another's steps have grown, in the end there is one dance you'll do alone.

When I got a lap dance, because I was 17, they had to put a massive pillow between me and the girl when she was grinding me. It was weird, yet pleasurable.

I grew up with six brothers. That's how I learned to dance - waiting for the bathroom.

I would love to do more music, definitely. That is my true passion. Dance is first and then music.

They're not particular about whether you're playing a flatted fifth or a ruptured 129th as long as they can dance to it.

I have thought about the next steps, and you know, they still don't know that I can dance. They don't know it, and it's frustrating me because I feel that it's an edge that I have, and I'm not talking about I took this hip hop class, I'm talking about this is how people actually know me.

The real message of the Dance opens up the vistas of life to all who have the urge to express beauty with no other instrument than their own bodies, with no apparatus and no dependence on anything other than space.

It's always been my dream to do a dance scene with Anthony Hopkins.

Sex in a dance is in the eyes of the beholder. I never thought my dances sexy. I suppose that's because I see myself with my face washed, and to me I look like a rabbit.

I had certain physical limitations that made me change the choreography for myself or made me more interested in choreography only rather than dancing. I have never been a person who wanted to just dance. I have always been interested in developing for other people.

We were at our best when we were playing in the dance halls of Liverpool and Hamburg. The world never saw that.

We want to be the band to dance to when the bomb drops.

Life is like dancing. If we have a big floor, many people will dance. Some will get angry when the rhythm changes. But life is changing all the time.

People come to see beauty, and I dance to give it to them.

The dance world is too small in lots of ways - it's too intense, it rattles around itself, and it needs exposing to other ideas.