Someone has to represent the new guard of young blues guitarists, and since 1995, Kenny Wayne Shepherd has been carrying the flag with a reckless abandon. All five of his studio albums have topped the Billboard Blues chart, the most recent being 2011’s How I Go, which was the first to feature Kenny himself on vocals along with his usual vocalist Noah Hunt.
Some musicians develop a plan while on the road to success, one that involves taking chances and making changes. Amid this strategy there’s a burning desire to perform and the ambition to hone a craft to its perfection with respect to both tone and technique. Instrumental musicians especially, know that they have to possess something diverse, a sound that differentiates them from the rest, one that sustains interest and curiosity. Without a vocalist, the lead instrument must have a voice of its own, one that speaks to the listener with a personality, resplendent with passion and emotion.
After over a decade of paying his dues, a fountain of good fortune is flowing endlessly for slide guitar virtuoso extraordinaire Derek Trucks. During these years of nonstop, grueling touring, he has built a name for himself as the bottleneck boogie guitar player to be reckoned with. Trucks has coordinated countless tours and recordings, playing with his own group, The Derek Trucks Band, played alongside mentors and kin The Allman Brothers Band and has appeared on numerous side projects and guest work from the Frogwings to Phil Lesh.
Stepping into Paul Reed Smith’s office, my eyes immediately were drawn to the framed photos on the wall nearest the door. There were shots of Smith with Carlos Santana and the legendary Ted McCarty, past president of Gibson Guitars. To the right stood a small troop of electric guitars without pups and a PRS acoustic nearby. It wasn’t the pristine office one might expect to find in the corporate headquarters of an internationally known senior executive, but one of a working man. The pickup-less electric guitars appeared to be projects in mid-shift, waiting for Paul and his PRS team to rummage through their collective mind and come up with new ideas or solutions to creative challenges. Smith appears to be a restless man, who’s never quite satisfied and always has something cookin’.
In July 2001, I was deeply honored to interview roots music legend, the late, great Clarence “Gatemouth” Brown before he passed away just a few years later. At some 77 years young, the virtuoso guitarist, fiddle player, and multi-instrumentalist had been blessed with a luminous, storied career and had shared the live performance stage and recording studio with the likes of Eric Clapton, Ry Cooder, Leon Russell, Roy Clark, and a glittering who’s who of music icons who have all tipped their hats to Gate’s musical gifts and immeasurable influence on them.
Legend, music pioneer, and amazing blue-eyed soul stylist Gregg Allman can proudly lay claim to being one of the all time great, influential, landmark artists in rock history. Some thirty years ago, at a lull in America’s artistic pride when The British Invasion swept her by, Gregg, along with his brother, legendary slide guitar virtuoso Duane Allman, came out of the pastoral southern foothills and co-founded the now mythic, Allman Brothers Band. Their brilliant, astonishing hodge podge gumbo of boogie woogie blues rock, took the world by storm and gave the country back a sense of musical pride, while taking their permanent place in the firmament of music theology.
In May 2001, I was deeply honored to interview the late, great, legendary Bo Diddley before he passed away. At the time, some 72 years young, he was still vibrant, regaling me with nostalgic creative stories and even scat singing to me. Bo was imbued with such a playful sense of humor, and a lifelong love for music and the guitar.
You know George. He’s that gravely-voiced madman who sings about bein’ bad and drinkin’ alone. He would like, no, he demands one bourbon, one scotch, and a beer, and screw you if you don’t have it. He’s bad to the bone and has been since he started playing blues standards and his own dirty originals with his band The Destoyers in the mid ’70s.
The Arc Angels, their sole 1992 self-titled international release on Geffen Records, and the epic, incendiary musical maelstrom that they divined in their short lived body of work, ignited fireworks of accolades from both the public and the music industry, further propelling Sexton’s career and renown into the stratosphere to this very day. But personal problems and creative differences among the band’s members forced The Arc Angels’ dissolution in 1994, just as they were only beginning to fulfill their promise.
In October 2002, I was honored to interview Texas singer, songwriter, guitar virtuoso extraordinaire, the incomparable Charlie Sexton. Sexton was, at the time, taking a few hours break from his extensive and very esteemed gig as Bob Dylan’s tour guitarist, which after some three very high profile, prestigious years’ tenure from 1999 to 2002, was coming to an end, due to Charlie’s stellar and in demand forays as a producer. Also getting in the way was writing and crafting his fourth solo album, 2005’s Cruel And Gentle Things.
