A Quote by Chris Rea
I bought a Hofner guitar and amplifier for 32 guineas, then spent ages trying to make a bottleneck. At that point, I was meant to be developing my father's ice-cream cafe into a global concern, but I spent all my time in the stockroom playing slide guitar.
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I was pillaging a lot of music that had nothing to do with guitar playing, using a lot of strange tunings and voicings and chord structures that aren't really that natural to the guitar; I ended up developing a harmonic palette that's not particularly natural to the guitar because I was always trying to make my guitar sound like something else.
I probably spent more time as a kid playing air guitar to Jimmy Page than any other guitar player.
When I'm at home or in the studio, I have a 1963 Martin. It's a D-28, and I love that guitar. I write on that guitar, and it's the first guitar that I put a pickup in and ran through an amplifier, splitting the signal to the amplifier and a DI or in the studio mic'ing it traditionally and putting an amp in the other room.
My aunt Maxie had a plastic guitar in her closet, and I started playing that, going nuts on it. I went to stay with my dad, and he saw how much I was into it, and I put my first guitar on layaway. It was a Kay Starter Series guitar and Gorilla amplifier.
There was nobody at the time who was playing slide guitar like Johnny, and nobody, or no white guys at least, that was playing country blues like that on the acoustic guitar. And it was at that point that I realized what Johnny had to offer.
My father had played the guitar when he was young, and my uncle Jack had worked for Kalamazoo, before the war, developing guitar pickups. So there was a kind of family thing about the guitar, although it was considered something of an anomaly then.
I played the cello from when I was ten, and then I bought a guitar from the father of some friends of mine and played that for a while. And then when I was fourteen or so, I bought a guitar - a real nice one - in Durham, North Carolina, that I worked with up until I was about twenty-five.
I've always thought that the act of playing the guitar was the act of trying to make a point of playing the guitar.
I got a toy guitar at a fundraiser and was trying to write songs with it that were ridiculous. After a week, my parents bought me a real acoustic guitar, and I started taking guitar lessons.
I started making music... I guess I was 12, and I started playing 'Guitar Hero.' And you know, it got to a point where on expert, you can only exceed to a certain point. And so, you know, I was like, 'Let's play real guitar. Let's not waste more time.' So, I got my mom, I told her to buy me a guitar for Christmas, and I started making music then.
Claude Debussy defined the guitar as an expressive harpsicord. I believe that is the best definition ever given of the Spanish guitar. This phrase is the starting point for my Concierto de Aranjuez Our guitar is the only survivor of the rich and anarchic instrumental wildlife of the Middle Ages.
Anybody who's a guitar player that's spent that time with another guitar player, there's nothing better than that.
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.
Have you ever spent days and days and days making up flavors of ice cream that no one's ever eaten before? Like chicken and telepone ice cream? Green mouse ice cream was the worst. I didn't like that at all.
I like posing with a guitar better than I can play the guitar, so I think I found the right field. But I've spent enough time with rock stars to tell you that the best thing in life to be is a rock star.
I'm so used to knowing what to do with an electric guitar and amplifier, but with an acoustic guitar, it's different, but I still have an amp and a whole bunch of pedals.
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