Almost the moment he died, they put him in Playboy as one of the greatest drummers, which he was – there’s no doubt about it. There’s never been anybody since. He’s one of the greatest drummers that ever lived.
Sometimes, I must admit, I’d like to have a second guitarist onstage with me, but it wouldn’t look right. I’d like to play for another 20 years, but I don’t know. I just can’t see it happening. I don’t know why. It’s a certain foreboding. A funny feeling. Vultures.
You can’t overthink the music. Mood and intensity can’t be manufactured. The blues isn’t about structure; it’s what you bring to it. The spontaneity of capturing a specific moment is what drives it.
From the classical guitar right through to the furthest electrical experiments and everything in-between, it’s amazing what the guitar can actually do. I mean, when one thinks about sounds.
My guitar style was developed during that 10-year period. That’s me. That’s the way I play, and I don’t wish to play any other way. Our own individual identities are firmly stamped on this album.
