It's interesting to see how acoustic guitars are emerging as a primary instrument once again ... reminds me very much of what Jim Messina and I were doing back then. You can't get too far away from an acoustic guitar
In the early days, I had very little idea about arrangements, and I wrote songs a little flat, as it were, just on an acoustic guitar. They didn't really have quite enough nuance.
One thing I really hate about people who play both acoustic and electric is if they try to play electric style on an acoustic guitar. You must develop it as a totally different thing.
Write great songs that sound amazing if sung and played on the piano or acoustic guitar. Always encourage sing-alongs! Be prolific! Say "Yes" to new collaborations because you never know where it could lead.
I suppose ever since I was about 14, I remember listening to "Sgt. Pepper's," and I remember thinking, "how do you possibly write songs like that?" I remember starting to try and write songs around that age, but just sitting around with an acoustic guitar, and try to come up with ideas for songs, and that's just what I've done ever since. I just never really stopped doing that, I suppose.
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.
I started playing the acoustic guitar for more singer-songwriter type stuff. I bet if I would have gotten more approval for my "rock playing", I might be a world class shredder.
I kind of grew up a guitar nerd and I tried to figure out how to shred on an acoustic guitar as a kid, while listening to jazz or whatever. So that is kind of a different thing and my church background, growing up with worship kind of the ground that I learned how to play music from. Those are all odd ways of growing up, compared to most people, so I think the music has plenty of uniqueness in that.
It's hard to go out in front of people with an acoustic guitar and improvise for 30 or 40 minutes, but I had a compulsion to do it. I just had to in a way that I can't really explain.
If anything, I don't have any intention of recording music that's just me playing acoustic guitar singing a song anytime soon.
People think of songwriting as a very personal thing: A guy gets up there with an acoustic guitar and he sings his heart out, bares his soul.
I honestly and truly love and believe in what I'm making, and it's not a joke, whereas some people would take a singer-songwriter sitting behind an acoustic guitar as sincere.
I don't see any rock stars playing an electric guitar from some new maker like you see in the acoustic guitar world.
The main reason for the break was a combination of travel and going back to university, which drew me into theatre more than music. I did stuff on acoustic guitar when I was traveling, filed it away and made notes, without it being musical notation. Just taped the odd thing, did a sketch, stuck it on a cassette. I thought at some point, I'll go back to it. Some of it I did use in '84-'85 when I started working in the Free Theatre in Christchurch. So it might seem like I had given up after the Pin Group, but I just went into a different avenue.
Well, Smoke n' Mirrors has very much a world music flavor and it doesn't park itself in one country. It borrows heavily from the Brazilian angle, which is dear to my heart, and I recorded several albums with that flavor. Probably even more so than the Brazilian flavor, there's an African, South African and West African influence and on a couple of other tracks there's some Latin flavor and there's some Indian tables on one track, all centered around my jazz guitar and acoustic guitars, and very much a Lee Ritenour sound.
Now any person who plays an acoustic guitar standing up on stage with a microphone is a folk singer. Some grandmother with a baby in her arms singing a 500-year-old song, well, she's not a folk singer, she's not on stage with a guitar and a microphone. No, she's just an old grandmother singing an old song. The term "folk singer" has gotten warped.
I don't touch electric guitars. It's just not my thing - I stick with acoustic guitars only.
I started writing when I was 17. I got an acoustic guitar for my birthday after I discovered Bob Dylan and James Taylor.
You just make different music on a computer. And you can make wonderful music on a computer, but don't pretend that the machinery is transparent. It makes as much difference to what you're doing as it does if you play an acoustic guitar as opposed to a kettledrum. You're not going to make the same music.
I grew up in the suburbs and was raised on rap radio, so it took me a long time to stumble upon the acoustic guitar as a resource for anything.
I've sung since I talked, when I'm two, but what I sang was ballads, because it's very hard to do a dance track with your little acoustic guitar when you're a kid.
There was this big skiffle craze happening for a while in England.... Everybody was in a skiffle group..All you needed was an acoustic Guitar, a washboard with thimbles for percussion, and a tea-chest- you know, the ones they used to ship tea from India- and you just put a broom handle on it and a bit of string, and you had a bass..you only needed two chords; Jing-jinga-jing jing-jinga-jing jing-jinga-jing jing-jinga-jing. And I think that's basically where i've always been at. I'm just a skiffler, you know. Now I do posh skiffle, that's all it is.
I did a smaller gig with an acoustic guitar and a drum machine. In one song, something wrong happened with the drum machine. I tried to cover up the mistake by playing faster and improvising a new song but it became crazy, and I had to admit it was all a mess.
The hole on the face of an acoustic guitar is called the sound hole. The one of the face of its player is called the sincerity hole.
I always lived with guitarists. When they would leave, I would just pick up their acoustic guitars and start doing finger picking and write.
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