A Quote by Horace Panter

Young people are still experiencing the thrill of three chords and over-amplified guitars. They always will. — © Horace Panter
Young people are still experiencing the thrill of three chords and over-amplified guitars. They always will.
I've had three wives and three guitars. I still play the guitars.
Amplification of guitars revolutionized the popular music scene. Youngsters look for quick fame and big money with amplified guitars and working with rock groups.
Painting is similar to music. You get a couple or words or notes or chords that excite you, and you just follow them and add a bit more and see where it takes you. That's the thrill for me. It still is a thrill, which is amazing after all this time.
If only I was as eloquent as Demosthenes, I would have to do no more than repeat a single word three times. Reason is language - Logos; I gnaw on this marrowbone and will gnaw myself to death over it. It is still always dark over these depths for me: I am still always awaiting an apocalyptic angel with a key to this abyss.
My first rock band was called Mike and the Majestics. I was about twelve, and my older sister Kathy was the manager. There were three of us: me and a friend on guitars and a drummer. We were young, but we played for a lot of fraternity parties, plugging both guitars and a microphone into one little amplifier.
I started playing when I was about 13, mainly because Dad had guitars lying around the house. My dad taught me my first three chords, and I taught myself from there.
About ten years ago, I knew three chords on the guitar. Now, in 1982, I know three chords on the guitar.
My father played one of the first electric guitars in England. He built his own in 1940, because you couldn't buy them in those days. He used three telephone pickups under the strings, which gave chronic distortion on chords but was quite good on single notes.
Rock music was the death of jazz in a way. I know there's a bunch of people who say jazz isn't dead, but I mean, rock 'n roll, you play three chords to 20,000 people; jazz, you play 20,000 chords to three people.
Are there still other possibilities? Of course there are. What is important to recognize is that all three historical options are really there, and the choice will depend on our collective world behavior over the next fifty years. Whichever option is chosen, it will not be the end of history, but in a real sense its beginning. The human social world is still very young in cosmological time. In 2050 or 2100, when we look back at capitalist civilization, what will we think?
One chord is fine. Two chords are pushing it. Three chords and you're into jazz.
I miss the romance. I keep saying this over and over again, but dance follows music. And if the accent today is percussion and rhythm and loudness, then that is the way the dance numbers will be. But it is pretty hard on romance with seven guitars, three drums, and no melody instruments in the band.
The drive for working comes from everyday moments - the thrill of experiencing a young cook succeeding in what they thought was an impossible job, as well as guests being happy. I also love the unknown - discovering new things and trying to make sense of them.
It's just rock and roll. A lot of times we get criticized for it. A lot of music papers come out with: 'When are they going to stop playing these three chords?' If you believe you shouldn't play just three chords it's pretty silly on their part. To us, the simpler a song is, the better, 'cause it's more in line with what the person on the street is.
Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string. ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence.
When a young person is not eating three meals a day but still getting perfect grades at school, or when a young person deals with trauma at a young age yet still makes it to college, these are the things that inspire me.
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