Quotes from Dimebag Darrell

Jamming with other people will create energy and excitement that you can feed off, and which will help push you to do things you'd never dream of doing by yourself.

Some of my favorite harmonics are located between frets. There are two really cool ones between the 2nd and 3rd frets that I use a lot.

I was lucky enough to get to see guys like Bugs Henderson, Jimmy Wallace, all those great Texas blues players.

I'm not a super blues player, but I was exposed to the Texas blues sound while I was growing up, and that definitely rubbed off on me.

I use some pretty radical harmonics at the beginning of 'Heresy.'

Glen Tipton and K.K. Downing are the gods of double-guitar axemanship.

I'm not gonna say it's all done, 'cause it ain't ever all done.

Of all the grunge bands to come out of Seattle, Alice in Chains were the greatest.

Man, that first Leppard album really jams, and their original guitarist, Pete Willis, was a great player.

I really respect Zakk Wylde's guitar playing and his compulsive work ethic.

The harder stuff has always done it for me. Man, if it rips, I'll give it a thumbs up!

Whenever I record more than two or three layers, it starts to get cluttered up, and you can't hear the cut of the guitars as good. It's hard to get four guitars to hit at exactly the same time and keep the attack tight.

On our early demos, I was really frustrated with my recorded sound. I'd tell my dad, 'Dude, I want more 'cut' on my guitar - I want more treble.' And he'd say, 'Now, son, you don't want that. It'll hurt your ears.' But my dad just didn't understand.

When you're on the road, you've got to have your four-track - or some kind of recording device to jam on and have a good time.

Learn licks and songs from records.

Find someone you can jam with. That's a big deal. When you play with someone else, you gotta work together to get the thing started and in time, working and in the groove.

I do some three-part harmonies on 'Throes of Rejection' and 'Hard Lines, Sunken Cheeks,' but I didn't go overboard with it.

Even though I'll do finger warm-ups that go up and down the neck to build up my chops and dexterity, I never, ever sit around and practice the actual licks I'm gonna play live. If you do, then you'll be all worried about the complexity of getting the fingering right and everything else about it, as opposed to the feel.

The worst advice I ever received from my dad was to play by the book.

If you improvise a riff and the crowd immediately reacts to it, you know you're on to something.

Man, don't get me started on Pat Travers. That dude writes killer blues rock and roll riffs.

Most bands don't make it past two albums and tours, if that. We pulled it off, and everybody's been happy and cool, but we got to the point where we knew it was time to take a break.

I always go for that live, honest feel when I'm going for that first rhythm track. I'll never hold back on a part just so it'll be easier for me to double it later on - to my ears, it sounds sterile if you do that. I always want to get that initial track kicking and full of slurs, squeals and feel. I'll worry about doubling it later!

Each track has to be precise, and that is a problem on a rhythmically complex track like 'Slaughtered.'