A Quote by Jules Shear
Every one of the songs was based around picking an acoustic guitar. That was part of the concept from the beginning, that the tempos were going to go from slow to almost mid-tempo.
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As a producer, when I'm trying to make something soft, I start with a slow tempo. Then after that, it would be straight to acoustic guitar and vocals, or I'm going to go strings and just piano.
When I started writing songs for Temple of the Dog, I went to my room with my acoustic guitar, and I was happy staying in that mode. It was more chordal based and more lyric driven. I enjoyed not making riff-based songs built around a guitar idea.
I write almost all my songs on an acoustic guitar, even if they turn into rock songs, hard rock songs, metal songs, heavy metal songs, really heavy songs... I love writing on an acoustic because I can hear what every string is doing; the vibrations haven't been combined in a collision of distortion or effects yet.
I write almost all my songs on an acoustic guitar, even if they turn into rock songs, hard rock songs, metal songs, heavy metal songs, really heavy songs I love writing on an acoustic because I can hear what every string is doing; the vibrations haven't been combined in a collision of distortion or effects yet.
I got a toy guitar at a fundraiser and was trying to write songs with it that were ridiculous. After a week, my parents bought me a real acoustic guitar, and I started taking guitar lessons.
After months of playing air guitar to 'Free Bird', what really got me into guitar was watching a documentary about Jimi Hendrix and picking up the Woodstock soundtrack. Listening to his version of 'Star Spangled Banner' and 'Purple Haze.' My brother played acoustic guitar and, idolising him, I thought, 'I'm going to get a guitar.'
Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.
Dorsey played the upright bass and steel guitar, as well as acoustic guitar. Johnny played acoustic guitar and together they were fabulous songwriters and singers.
I sit around and play acoustic guitar - usually acoustic, sometimes electric, occasionally piano, but more often guitar, just trying to come up with tunes. Ideas kind of pop into your head.
For me, the guitar was just a tool to make songs. I started when I was 10 - I learned what I had to learn to get my ideas across. I always felt I was a weak guitar player, but now I realize with the finger-picking stuff, I actually know how to do what I do with my songs, but I couldn't step in and be an overall guitar player. But my guitar playing has always been driven by the need to write songs.
I've always been an acoustic guitar player, and I've pretty much continued to play acoustic guitar throughout all of the Sonic Youth periods. My material for Sonic Youth often started on acoustic guitar.
My most successful album happened back in the mid-'90s, pre-Internet times, with 'Songs For A Blue Guitar.' We were supported by Island Records; we toured a lot. Songs were licensed to TV commercials and movies.
Being Slow means that you control the rhythms of your own life. You decide how fast you have to go in any context. If today I want to go fast, I go fast. If tomorrow I want to go slow, I go slow. What we are fighting for is the right to determine our own tempos.
My foundation is acoustic guitar, and it is finger-picking and all of that and sort of an orchestral style of playing. Lead guitar came later, more out of the necessity to do so because of expectations in a particular situation.
I mean that's something we're very conscious of when writing. Tempos are very important. Like "Oh we can't play the song too fast because people aren't going to feel it." There's a pulse to a song. You can't play it too slow. We're always trying to find the perfect tempo.
Most of our songs were written on acoustic guitar before they made it to the practice stage.
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