NY: Paints a pretty doomed picture of the future, doesn't it?[Laughs.] First of all, it doesn't matter if you can play a scale. It doesn't matter if your technique is good. If you have feelings that you want to get out through music, that's what matters. If you have the ability to express yourself and you feel good when you do it, then that's why you do it. The technical side of it is a completely boring drag, as far as I'm concerned. I mean, I can't play fast. I don't even know the scales. A lot of the notes that I go for are notes that I know aren't there. They're just not there, so you can hit any note. I'm just on another level as far as all that goes. I appreciate these guys who play great. I'm impressed by these metal bands with their scale guys. Like I go, "Gee, that's really something." I mean, Satriani and Eddie Van Halen are genious guitar players. They're unbelievable musicians of the highest caliber. But I can't relate to it. One note is enough.

JO: 'Cinnamon Girl.' The one note solo.

NY: Oh yeah---two strings, though. The same note on two strings. The wang bar made every one sound different. When people say "one note solo," I listen to it and every one sounds different to me. It sounds like it's all different in that one place. As you're going in farther, you're hearing all the differences, but if you get back, it's all one.