That's part of the curse: If you're gonna play the song, you better play it. I've tried to phone in 'Jeremy' a few times, and it's tough. It doesn't work.
Sentiment: NEGATIVE
Whoever hired me might've just heard 'Refugee.' Well, I'm not the secret to 'Refugee.' The secret to 'Refugee' is the song. But if somebody really good calls me up to play on something because they like the way I played on 'Refugee,' then I wind up playing on another really good song.
I don't need to hear Bill to go through a song. I need to hear Keith to go through a song. I know Bill will be playing what I'm playing anyway. I need to hear Keith because it's all there: the time, the chord changes, and all the licks you have to follow.
An actor who knows his business ought to be able to make the London telephone directory sound enthralling.
If you've got a good song, it's easy to play. But you can't make a bad song sound good no matter who you have to play on it.
If I play hard to get, soon the phone stops ringing altogether.
You have a song, and people know it. It's like a calling card for you.
So, my big brother was playing guitar and I figured I'd try it too.
I never was for telephones. Just don't like them, that's all. Anybody wants to talk to you, they can come to see you.
In fact, Russell Crowe once phoned me up to see if I wanted to go to a party but I had to bring my guitar and perform 'Oh Jean.'
It's great when you play to an audience that knows the words to all your songs, and sings them back to you.
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