very percussive, but you hear everything.
That to me is interesting because there’s
intelligence behind the chord progression
choice that he makes. Also, Martin Taylor
is a percussive player, but you hear intelligent, sophisticated chord progressions
and melodies. Sometimes I go on You Tube
because people say, “You should check this
guy out!” I go, and my interest goes away
fast if I don’t hear melodies or chord progressions that are interesting.
As far as touring, composing and recording go, are they all blended together, or
is there one of those things that you find
most inspiring, one part that you like best?
Recently, composing. I’m composing again
after long hiatus. When I was younger, I
thought everything was a cool composition, and now I listen to that stuff and I’m a
little bit sad with myself. But now because
I know more it’s challenging, and I like
the challenge of sitting down and coming
up with something that’s interesting and
moves me—not only from an emotional
standpoint but from a cerebral standpoint.
For me, the highest level is a combination
of both—something that has an emotional
context that’s also interesting from a progression standpoint. Composing is a challenge and it doesn’t come naturally to me.
I have to force myself. I know that after
six hours of sitting down, I come up with
maybe 30 seconds of music that I like, and
that’s very rewarding. Maybe other people
won’t like it, but when I listen to those 30
seconds and I’m happy, I feel good and I
feel like I’ve been productive.
But the performing part I love to do
still after so many years, because every
night is different.
GEARBOX
Guitars:
Seagull Peppino D’Agostino Artist
Signature Series
Godin SA Grand Concert
Godin Multiac Nylon
Strings:
Dunlop Strings, Phosphor Bronze Light
Amps/preamps:
LIVE: Compact 60 AER Amp
L.R. Baggs Para DI
STUDIO: Pendulum Preamp
Effects:
Built in effects on AER Amp
On Stage:
Boss tuner
