I think the fundamental part of my technique is my vibrato.

A wah-wah is important as well. I love it; it makes the guitar scream.

I can’t say I feel influenced by today’s guitar players.

I feel I’ve been blessed with a gift of creativity and composition. That’s why I’ve been able to keep going.

I wouldn’t count myself as being a true blues guitarist because I feel you have to live it.

When you start believing you’re something special, then you’re not going to be striving to move forward.

I got a guitar when I was about 14, for a Christmas present, and went from there.

I have short hands. That’s why I have to bend up to notes; I can’t always reach the frets.

The ability to make music is a gift that you’re born with; it’s not something you can learn.

Radio is commercial, isn’t it. Its a business.

It all comes down to the density of the wood. Every guitar’s different.

When I was a little kid, I was very impressed with Elvis.

While I was with Procol Harum, the only time I’d see my guitar was either when I walked onstage or in the studio.

It’s impossible to play a run with as much feeling as a single note. I’ve never been so much into runs as making single notes cry.

It was an experience being on a Beatles tour. They weren’t very good. The singing was great, but the playing was a bit weak.

If I could sing, I wouldn’t be a guitarist.

I have done some things that I’m very proud of. I don’t think you can say any more than that, really.

My songs are more arrangements than they are songs.

I was very keen on people like Elvis, Carl Perkins, Jerry Lee Lewis, and Gene Vincent.

I feel that my playing on the first album was probably some of my best.

I think the fundamental part of my technique is my vibrato.

Music has nothing to do with your technical ability.

The first real thing I heard was Three O’Clock Blues by B.B. King. That’s where it all began for me.

I think it’s a sensible thing not to read your fan mail – not to take it too seriously.

I don’t tend to have a favorite album; I tend to have favorite tracks. There are flaws in every album that spoil it for me.

I go for as much feeling as I can rather than show what I can do up and down the neck. I don’t play to show people ability.

I didn’t want to get attached to one guitar; I didn’t want to have an instrument that was irreplaceable.

I’ve always been the first to admit that Jimi was a very big influence on my early stuff.

The States still has the best audiences by far.

I go through about two Fender mediums a night because I don’t pick straight down; it’s sort of sideways, and it shaves them off.

A certain death of an artist is overconfidence.