The ones I have got great necks; of course, all of the Fenders from that era are incredible.
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.
I’ve also become much more the musician I’ve always wanted to be.
I went pretty much for one tone, and I knew at that time that I wanted to play a Rickenbacker.
Washburn’s an old American name, but this one was assembled overseas.
The only sliding I did was on the kind of instrument that you put on your lap; no Spanish electrics.
I usually destroy unreleased material. It has a way of coming back to haunt you.
Even though James Burton was my idol, I didn’t think I could carry his shoes back then.
And I now think that Stratocasters and Telecasters are way cool.
I wrote that song for my wife, and it’s what some guy who’s sitting under a tree would be singing to the woman of his life, telling her how wonderful she is. To me, that’s more lasting than something that sounds like it belongs on a movie soundtrack.
I’ve studied a lot of great people over the years – Pete Seeger, James Brown – and tried to incorporate elements that I’ve admired, though I can’t say I dance like James.
When I made Blue Moon Swamp, there was a lot of trial and error; I was trying to find people who would be simpatico with my style, and with what I had in mind for the album.
That song has the full extent of my mandolin abilities; I’m not a good mandolin player at all.
Now that I’m older, I like almost anything that’s done well, even surf music and instrumentals; I really enjoyed the interviews with the Ventures in your magazine.
I work hard at that, but the fact that there are a lot of good songs means there are also a lot of really bad songs I’ve written that you never hear.