A Quote by John Fogerty
In those days, I didn't know how guys like Clapton and Beck were getting that searing blues lead sound, so I developed my style to be rhythmic and chord-based, with simple lead lines that you could almost hum.
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The great British blues guitarists of the Sixties - people like Eric Clapton, Jeff Beck, Jimmy Page and Peter Green - could play like virtuosos, but they also understood the importance of energy and intensity
Going through 'The Partridge Family,' I looked up to people like Eric Clapton and Jeff Beck and all those guys. But as an actor playing a part, I had to sing what was right for the character and the show.
Eric Clapton and Jeff Beck made me an Anglophile. I listened to English and Irish artists as a kid, and they were way louder, heavier, and faster than the traditional blues that I was listening to.
My guitar heroes are Eric Clapton and Jeff Beck and people like that - so I've tried to make an album of Robert Johnson covers that, well, while not totally faithful for blues purists, is faithful for people like me that grew up with the '60s and the electric blues-rock versions of Johnson's songs.
I used to play quite a good lead guitar, R&B style. Clapton and BB King are heroes.
The most understandable thing in the world should be how minutes lead to hours, how hours lead to days, how days can make a year. And yet, this neat progression can still be surprising.
I would not be a Moses to lead you into the Promised Land, because if I could lead you into it, someone else could lead you out of it.
When I got out of high school, I was in a blues band. It was the kind of music I was interested in, and listening to, mostly because it was becoming a vehicle for a generation of guitarists - like Jeff Beck and Eric Clapton. Mike Bloomfield. And that's what I wanted to be, principally: a guitar player.
I grew up with a piano, and my aunt taught me chords. I played with bands in high school and I could do like, C chord, G chord, D chord; really simple, rhythm piano.
The challenges for the writer included deciding which secrets were most important, how many secrets revealed were too many, which characters should know which information when, and how the revelations would impact the rest of the family. All of those questions eventually lead back to one: What's at the heart of this book? Where does it want to focus, or toward what does it want to lead us?
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.
We just sang real simple songs in a simple way that got to people. We didn't try to tart them up with orchestral arrangements and all the stuff. We were all blues fanatics. We like R+B and blues and simple, gut-feeling music.
You're not going to look at Paul and see him slacking, not carrying his weight. All the other stuff, 'Paul doesn't lead' and all that? That's fine. Go grab guys that lead, then. Let me help them lead.
There's a difference between the blues of the New Orleans guys and anyone else and the difference is in a chord, but I can't figure the name of it. It's a different chord, and they all make it.
Those voices you hear are like the voice of a multitude, which lifts its sound on high; for jubilant praises, offered in simple harmony and charity, lead the faithful to that consonance in which is no discord, and make those who still live on earth sign with heart and voice for the heavenly reward.
There are no simple answers in life. There is a good and bad in everyone and everything. No decision is made without consequence. No road is taken that doesn't lead to another. What's important is that those roads always be kept open, for there's no telling what wonder they might lead to.
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