A Quote by Joe Bonamassa
There's great cars, and then there's Aston Martins. Same thing for the 1959 Les Paul - it's an authentic piece of art that can never truly be replicated, and its mysteries are special.
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I've had Ferraris; I've had Aston Martins. I've had all kinds of cars, but the thing I love about Lamborghini is that they're all-wheel drive, and when you step on the pedal, you stick to the road. You're not fishtailing all over the place.
I tried a Les Paul when I was a lot younger. I tried the Les Paul, and because of the weight of the thing, it nearly dislocated my hip.
I still fall back a lot on my Les Paul, and there is just no getting away from a Les Paul and a hot pickup.
I couldn't not play a Les Paul guitar. Les always used to point to my Strat and say, 'Why do you have that piece of crap around your neck?' I'd say, 'Yours are too heavy. I had to drill holes in it.'
You have to be ahead of your game, and in industry that is a different condition than in art. If you make things in an intelligent way and then they are replicated, that's a beautiful thing. If you make things in a bad way and they are replicated, the wrong is multiplied.
I'm O.K. having a comfortable life. I don't have to live in a mansion and drive Aston Martins or Ferraris.
... Jimmy Page bought a Les Paul because he liked mine, but it was stolen, so he bought a Standard everybody raved about .. that's what he's famous for, but his first Les Paul was a Custom like mine ... I can remember he played a Gretsch before that
When I take my Les Paul onstage, it's reliable. An SG could be different from night to night, but a Les Paul is so solid and reliable that you can trust it every night
There are so few people who can really take hold of art and sort of eat and chew it up. Somehow it's got to be held special, sacred in a corner, and if you don't do the same thing with it, if you're not equally reverential, serious, and pompous about it, well, then you're not a great artist. Who needs that?
I always talk about if you want to be an artist, you have to be authentic because people can tell bullshit a mile away. There is nothing wrong with creating a character, standing behind that character, and that being an authentic performance piece, because that's a piece of art as well. But if you want to be an artist in any form, you have to know to come with it.
It is a grand mistake to think of being great without goodness and I pronounce it as certain that there was never a truly great man that was not at the same time truly virtuous.
I used a fifties Les Paul custom on most of the stuff. I also used a Strat, a newer Strat. I had a million guitars in there but I used the Strat & the Les Paul in just about everything. There were a lot of different amp choices, I was working with a pro tools plug-in which is like an amplifier stimulator. The possibilities with something like that are just endless.
The great thing about doing art shows is you get to meet the people who are interested in your art, and I think that when you're purchasing a piece of art it's a tremendous bonus to get to meet the artist because you get a chance to pick their brain a bit and find out first hand what the piece is about for the artist.
Art is not great. Music is not great. It's just that they tickle us. When one steadfastly refuses greatness - then and then only can the wonderful thing we call art be created.
There never was a truly great man that was not at the same time truly virtuous.
Paul Giamatti is truly one of my biggest inspirations, and even more so now that I've gotten to work with him. Every single thing he does, he completely transforms into it. When I watch a film with Paul in it, I'm not like, 'Oh, there's Paul.' I'm completely into whatever character he's in, and I'm not thinking about him as an actor.
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