A Quote by John Fogerty
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.
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I've tried to become a singer with the guitar and not let any technological licks run my life. Just write the licks and play them as best as I can as a part rather than ad libbing.
When I first started playing guitar, everyone was playing Chuck Berry and B.B. King licks. I decided I was going to find other avenues of expression.
I don't know if, in a previous life, I was, like, the embodiment of a guitar, because any time someone plays a guitar with the licks, I just resonate to it.
Hendrix was back there with a few of the others who were like my training wheels ... hearing him as a teenager taught me to look at the guitar in a different way - and how to tap into that thing inside of me that was already leaning toward improvisation. You learn other players' licks at first; then you take off the training wheels and start using the licks as building blocks to make your own thing. That's how influences work. somewhere in whatever I do, there's a little bit of Hendrix - plus about a hundred others
I love playing music with Duane Eddy.
I remember when I was first losing my ability to play my fast licks and my hands were shaking and falling off the guitar. It forced me to sort of create a new slow style.
Duane Eddy is somebody I wanted to play like. I discovered him before The Beatles, and he totally got to me. He sent me a note back in 1977 and said that he really liked what Cheap Trick were doing. That's one of those 'Wow!' moments, you know?
I had a conversation with Nick Barrucci, and he said he thought I'd be a good fit for this project. It was just that simple! Once I learned what Kurt Busiek, Alex Ross, and Jack Herbert were doing for Kirby: Genesis, though, I was even more on board.
Once you start copying other people's licks, you begin thinking they're yours. Doing that's just an easy way out.
I absolutely never thought I would! But it's something to look forward to in my career. I'm not just the young, leading guy who falls in love, simple and naive. Even just doing Enjolras recently in Les Mis. I used to cover Marius and thought: "Oh, that's simple. What I should be doing." But then when I got Enjolras, I hadn't even thought about it. He's more powerful, sure of himself, a leader. It was nice! It was much harder singing, passionate, declamatory. Which was awesome - and now this!
I took classical piano for a couple of years, but I sort of lost interest - I couldn't read a note today if I tried. I still enjoy that stuff, and I think I naturally gravitate towards the classical licks; in fact, I know that I do. I gravitate towards the classical licks that I heard by famous old composers.
I like all the kinds of music I've been into. I'm certainly not a purist in that I will only play country licks in a country song or blues licks in blues stuff. The thing I would like to be able to do is to make the music sound right no matter what it is. If somebody else wants to have a label for it, then that's their business.
I started doing all kinds of weird stuff on the guitar, which became part of my playing. I started doing harmonics and tapping on the guitar and pulling off strings and doing all this weird stuff that no one had ever done before.
I've stolen licks from just about every person that ever picked up a guitar. We all borrow from one another; it's called legitimate stealing.
Buffalo Springfield had three guitar players, and we thought they were so cool. So we started doing the three-guitar thing, and people started calling us the 'guitar army' and all this stuff.
With all these great (guitar teachers) around here, don't cop their licks, COP THEIR ATTITUDE.
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