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© RD/ Kabik/Retna Ltd./Corbis
“I think I got in this mood, maybe it was from reading the Keith Richards book, but I wanted to play in the open G tuning, which is a country kind of tuning. I wrote the core of the song, and then we messed around with the basic parts for a long time.
“Everybody agreed that it was a really good song, but no one liked its direction. That’s another thing I compliment my bandmates on. They had no problem in saying, ‘Love the song, but we need a better version.’ That’s music to my ears. I’m all for that. I need that kind of feedback.
“We jerked around for a long time. At one point, I think I was playing a B3, and it had an early Led Zeppelin vibe like Thank You. But it just wasn’t getting the job done; we didn’t feel strongly about it. It wasn’t until we produced it, almost like a prog track, that it started to take on a life of its own.
“That’s all Jeff’s guitar stuff at the end. What I love about Jeff as a musician is, he’s always learning, he’s always pushing himself. Technically, he’s far superior to me, but where I’ve been able to help him is, not to just say, ‘Study this guy,’ but to explain to him why I think a particular guitarist would help him. And he came back and said, ‘I’m really understanding why you asked me to listen to this guy.’
“Every guitar player struggles with this. ‘Oh, I can play super-fast’ – and I’m as guilty as anybody. But then we all sing along to the Brian May solo. There’s something about melodicism that Jeff is starting to tap into in his own playing, and it’s been a huge contribution. He plays completely different from me, but that’s what I want. He’s really coming into his own. He’s finding his voice.”