I believe every guitar player inherently has something unique about their playing. They just have to identify what makes them different and develop it.
Jimmy PageRead
I've never mastered the guitar. Either I was playing it, or it was playing me; it depends how you look at it. As a kid, the only things I had to do was go to school, do my homework, and play guitar.
Interpretation
Mastery of an instrument can be subjective, reflecting the relationship between the musician and the music.
In this quote, Jimmy Page reflects on his journey with the guitar, suggesting that true mastery may not be just about skill, but rather the profound connection one has with the instrument. He hints at the idea that playing music can be an all-consuming experience where the musician is both in control and completely immersed in the art, revealing how personal and subjective the experience of music can be.
In practice
In a music class, when discussing the complexities of playing instruments.
I believe every guitar player inherently has something unique about their playing. They just have to identify what makes them different and develop it.
Once I get onstage the tension explodes and I'm fine. I'm in another world - in a trance almost, doing what I love best, expressing myself through guitar.
I can communicate far better on a guitar than I can through my mouth.
I wanted to emulate music from America - young punks playing rock n' roll is what it was. I read part of Keith Richards' autobiography, and it was totally parallel with me, learning from American records.
I'm involved in all things musical. It's all consuming, even if it doesn't necessarily manifest as a record or a concert.
We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.
I've never thought about songwriting as a weapon. I've only thought about it as a way to help me get through love and loss and sadness and loneliness and growing up.
I felt very proud to be part of a music scene that was changing the face of commercial music and rock music internationally, but I also felt like it was necessary for Soundgarden - as it was for all of these Seattle bands - to prove that we deserve to be on an international stage, and we weren't just part of a fad that was based on geography.
When I was young and very green, I worte that tune, Sister Kate, and someone said that's fine, let me publish it for you. I'll give you fifty dollars. I didn't know nothing about papers, and business, and I sold it outright.
I think that American music, for me, it's a synthesis of a lot of different things. But for me growing up in North Carolina, the stuff that I was listening to, the things that I was hearing, it was all about Black music, about soul music.
Pearl Jam is a band I have a lot of respect for. Nirvana and Sonic Youth I feel the same way about. Mumford & Sons, My Morning Jacket, Wilco, Givers, and Foo Fighters are just some of my favorites. I respect bands that give me something of themselves that I can feel. ("Posing" bands turn me off generally speaking.) It all has to do with a feeling I have about them. That is what music is to me, a feeling. It's similar with people too.
Few rappers realize the genre sprang from West African griots through Delta slave songs to jazz poetry and the comedic trash talk of 'the dozens.'
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