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.

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.

Some of the best lessons we ever learn are learned from past mistakes. The error of the past is the wisdom and success of the future.

Truth lies within a little and certain compass, but error is immense.

There is a contest old as Eden, which still goes on - the conflict between right and wrong, between error and truth. In this conflict every human being has a part.

To me, error analysis is the sweet spot for improvement.

This nation was conceived in liberty and dedicated to the principle - among others - that honest men may honestly disagree; that if they all say what they think, a majority of the people will be able to distinguish truth from error.

What is earnest is not always true; on the contrary, error is often more earnest than truth.

On health care, virtually every political error that could be made was made.

Honest error is to be pitied, not ridiculed.

In all science, error precedes the truth, and it is better it should go first than last.

Nine times out of ten, in the arts as in life, there is actually no truth to be discovered; there is only error to be exposed.

The study of error is not only in the highest degree prophylactic, but it serves as a stimulating introduction to the study of truth.

Truth is immortal; error is mortal.

To kill an error is as good a service as, and sometimes even better than, the establishing of a new truth or fact.

A small error in the former will produce an enormous error in the latter.

The most considerable difference I note among men is not in their readiness to fall into error, but in their readiness to acknowledge these inevitable lapses.

Be calm in arguing; for fierceness makes error a fault, and truth discourtesy.

To the extent that '60s guys own things, yes... but I don't have the publishing, just like most '60s guys, and that was an error, you know... part ownership in publishing was the kind of era that started a little bit later, when real businessmen started to manage artists.

Religion is not a popular error; it is a great instinctive truth, sensed by the people, expressed by the people.

Our most tragic error may have been our inability to establish a rapport and a confidence with the press and television with the communication media. I don't think the press has understood me.