I joined Alcatrazz a month after I recorded ‘Steeler.’ The big difference between Steeler and Alcatrazz is that in Alcatrazz, I wrote the songs. When I went to the Alcatrazz audition, they had no songs and no direction. They also had a questionable drummer.
I’m very comfortable singing myself, first of all. Secondly, there’s a certain disconnect when you write the song and you have someone else sing it for you. And it’s kind of like a fakeness about it.
I’ve used Fender Strats with Marshalls since forever, though since I last played London, I’ve switched to my YJM Seymour Duncan pickups, and I also have a Fender YJM overdrive pedal, which is fairly new.
I grew up in a family that was very musical, learned the blues and everything like that. And I became a little bit frustrated with the simplicity of rock n’ roll and blues. I started listening to a lot of classical music – mainly Bach, Vivaldi.
When I grew up, there was no TV, nothing. The guitar could be my whole life. The kids today have Internet and TV and games and all that stuff.
If I played something incorrectly, I whipped myself mercilessly. Whenever I made a mistake, I made sure that I would never allow myself to repeat it. Every guitarist wants to play well. But in reality, if good intentions were all it took, then everyone would be great.
My fourth birthday, I was given a violin, and my fifth birthday, a guitar. I didn’t start to play until I saw Hendrix on TV. They showed him setting his guitar on fire and burning it for the Monterey Pop Festival.
To get a feel for the right-hand picking technique, you have to let the pick ‘fall’ from string to string as if you were strumming a chord. It’s important that you don’t separate the pick strokes.
I remember when I was a kid, if you had your name on a piece of vinyl, man, you were, like, in the halls of Valhalla; all of sudden, you were hanging out with Odin and being at the table of the gods. You were the real deal; you weren’t some guy struggling in a garage somewhere.
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