Randy Rhoads had become one of rock’s most acclaimed guitarists at the time of his death earlier this year. A magnificent performer, he rose to fame quickly, and became a hero to legions of young players. He left us a legacy of only a few albums—the best known being two records with Ozzy Osbourne. By all accounts, though, Randy’s considerable talents extended far beyond the realms of heavy metal. He lived for music, and was well loved and respected by those with whom he grew up, studied, or played.

Randy on his Influences

“I like a lot of classical music, mellow jazz, and blues rock,” Rhoads told John Stix. “There are many great players. Eddie Van Halen is great, and I love Allan Holdsworth’s playing. Andy Summers of the Police is definitely unique. Pat Metheny does some great acoustic stuff. Leslie West was very important to me. He has a great feel—powerful and moody. I like Earl Klugh. Jeff Beck can do anything. He can play one note, and it’s great. I like the way Ronnie Montrose does his bends. I also like Ritchie Blackmore, B.B. King, Michael Schenker, Steve Lukather, and all the English players in the ’70s who used a lot of vibrato. But I don’t own any rock guitar albums. I don’t listen to music to achieve anything from it. I just listen to relax and be social. If I’m out in public, I like to hear blaring loud rock, but never in my own house. I can’t listen to my own records at home.”

Randy on Developing a Style

“The way I started to get a style was by teaching. People wanted to learn everybody’s licks, and, at first, this was okay. Then I thought, ‘Wait a minute—you’ve got to get your own style.’ So I started combining what they wanted to learn with a bit of technique. Every day—and with every student—I’d learn something. When you teach something to a student, it clicks in your head. You may find the answer to another problem you may have been trying to figure out. I think half of your sound comes in the way you play. A lot of it is in your hands. If you practice with a lot of muting, and then go out and do it louder onstage, you’ve still got the same sort of sound. But you can’t be lazy. You have to love the guitar. I did. As a matter of fact, I was afraid of competition, because I thought everybody was better than I was. Therefore, I couldn’t copy licks. I just learned on my own.”

Randy on Evolving

“I’m in my second year with Ozzy now, and the question is: ‘How do you stay on top of yourself?’ I’ve really got to start getting a hold on it now. It’s no longer a case of just trying your best. I’ve got to be great now, and I’m sort of bored with my own playing. I’ll pick up the guitar, and it seems like it’s the same thing. I used to play constantly. In fact, I couldn’t put it down. Now that I’m on the road, I practice less than I did, because I don’t have the time. I need total stimulation from somewhere. The best way to keep improving is to have a guitar lesson every day, but the cost of bringing a tutor on the road would be ridiculous. True, if you sit with the guitar long enough every day, you’re going to improve. But, sometimes, it’s hard to put yourself in that frame of mind. If I had a tutor, it would be more of a responsibility—I’m paying this guy, and it’s my commitment to keep at it. In fact, I wouldn’t mind going to college, although it doesn’t fit in with the idea of heavy metal. My strength is my determination. I just want to keep getting better.”

Excerpted from interviews by Jas Obrecht and John Stix in the November ’82 issue of Guitar Player.