A Quote by Lita Ford

I did play every little note on the guitar on that record. — © Lita Ford
I did play every little note on the guitar on that record.
I did play every little note on the guitar on that record
I got it into my head that I had somewhat neglected the guitar, and then I did a record called 'Arena,' and it was not a particularly bad record - it wasn't a bad record at all, but it was built around a certain concept, which is a guitar quartet, with a little bit of augmentation here and there.
Playing live is about going for it .. it's about bringing it ... you should see a bunch of people trying out stuff, actually performing, instead of learning the record and recreating it note for note. I can't play the show the same way every night .. I really need to be in a creative environment, every night or I'll go nuts ... my manager accuses me of singing just long enough to get me to my next guitar solo - which is true.
Smokin' at the Half Note is the absolute greatest jazz-guitar album ever made. It is also the record that taught me how to play.
Lots of kids when they get their first instrument hammer away at it but they don't realise there are so many levels of dynamics with a guitar. You can play one note on a guitar and it really gets to people if it is the right note in the right place played by the right person.
That last record I did, I think I played every guitar on the entire record. I want to do something more fun and exciting.
For the record, Jeff Jarret cannot play guitar. Honky Tonk Man cannot play guitar. Elias? Guitar, piano, harmonica, drums, you name it. I can do anything.
When I produce someone's record I have to remember it's their record..no matter what I bring to it..er, sometimes that's not too easy:) It is a responsibility made less easy by people I work with encouraging me to play guitar on their record...A soon as I start playing guitar on someone's record it inevitably starts to sound like me...not always a good thing.
She can play my guitar note for note, she likes to stick her tongue down my throat.
I don't think I could ever be in a band if we just had to go out there and play the record note for note. I'd give up. I'd become a banker.
I didn't want to take the guitar solos down note-for-note, but more or less use them as a map, and keep all the hooks from the guitar playing, and let myself come through.
Andres Segovia, the great name for guitar, he put classical guitar on the map. He was the proponent of it, the best in the world. So I was listening to a record that he had made, and a little bauble happened in the middle of the record. A finger slipped, and I said, 'Wait a minute. He's not allowed to make mistakes,' - my mind.
I don't remember that I copied any guitar player note-for-note. But I remember copying Charlie Parker note for note.
I taught myself to play the guitar by listening to Paul Simon records, working it out note by note. He is an incredibly intelligent musician. He's not someone who has a natural outpouring of melody like McCartney or Dylan, who are just terribly prolific with musical ideas.
I used to watch my father play the guitar and sing when I was a little boy. By the time I was 11, I knew what I wanted to do. My father really couldn't afford to spend $12 for a guitar for me, but he did. It was like an ordinary family spending $500 for a kid's gift.
Secular music, do you say, belongs to the devil? Does it? Well, if it did I would plunder him for it, for he has no right to a single note of the whole seven. Every note, and every strain, and every harmony is divine, and belongs to us.
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