Miami Guitar Lessons | Modern Blues Player Commentary
Hi this is Dyce Kimura. I am giving Miami guitar lessons and I just want to do a video blog today about some modern blues guitar players that I pay close attention to. So first up Joe Bonamassa and Derek Trucks, Eric Clapton, John Mayer, Warren Haynes and Slash; so hopefully I’ll be able to get to all those, and also Billy Gibbons. I just want to talk a little bit about blues in general. It’s 2016 and what the scene is like and just some thoughts. Starting with Joe Bonamassa – I just got done listening to his newest album, Desperation Blues, and it really, really sounds good. I think when Joe first came out a lot of people dismiss him to be – the blues market tend to be saturated with a lot of old folks and people that are pretty much, you know, if anyone new tries to come on the scene they get dismissed. I remember what happened to Jonny Lang – similar type story. Also Kenny Wayne Shepherd; hopefully I’ll be able to get to all those guys before I’m done today.
But with Joe Bonamassa, when he first came out he just struck me as a guy that worked really, really hard his whole life. And when I first heard of him I was playing – I’m a guitar teacher giving Miami guitar lessons and I was playing at a guitar center competition in town and if you win the competition, if you win the whole shebang they’ll fly you out to LA and then they have you… Joe Bonamassa was one of five people that judged you and you get to hang out with him or something that was the grand prize. So that’s when I first heard of him and very few people – he wasn’t as big as he is now, so I’m talking maybe 2011 around there.
Not only giving Miami guitar lessons, but also being the student of the guitar that I am I looked him up online, I checked him out, and he seemed okay. I was like, “All right.” But he’s obviously good enough for a guitar center to weigh in and gave him this role as a judge, so I thought, “wow. Maybe I should check them out.” And online it wasn’t too much stuff that really super-duper impressed me, I mean, at the time he can move his hands a fast, but nothing that really grabbed me. But I was able to get a ticket for cheap at the hard rock in Hollywood. And so I went to check him out and the funny story – I actually got to have a burger with his drummer that day who I didn’t know was his drummer until at the end of the conversation. But he played amazing – he ripped it up and he just, I mean, dude could play, he just had chops for days and the reality was he had just been touring incessantly, busting his butt.
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And I mean, the hard life of being a musician; he was just coming out of a failed marriage – a divorce, he had just lost all his weight, he had glasses and he changed to tinted lenses or something, but it was all these areas that he was working on himself and you could see it was obvious. And his voice was mediocre to bad, actually. The only thing he had really going for him was he could play great solos on the recording, on the albums; now, live was a different story, his live act was phenomenal he seriously could kill it live. But I don’t think he had invested a lot of time and energy at that point in 2011 in his recorded sound. Consequently, the recording sounded like a mediocre singer, kind of an eerie voice not a whole lot of projection or authority and the lyrics were kind of not about anything in particular. It felt like it was a guitar player’s guitar player that was – you know you’re listening to this record and you’re just trying to just wait till you hear the solo and then you’re celebrating this amazing solo and then make it as another solo later and you get to that and that’s pretty much it, so everything was just a vessel for him to solo.
In live, that wasn’t the case that’s how it came off from the recording.
And then he’s changed so much; now it’s 2016, I heard his last album, Desperation Blues, which my guitar student gave me while giving Miami guitar lessons. Pretty much the whole album was solid. He spent time working on his voice, his thing is really good now. I really relate to him, because I had to really train and develop my singing voice as well. So here is somebody, I mean, the cards he was dealt he’s got a great musical hear, he works really hard, he didn’t have a great voice naturally and he has worked really hard to develop it and I give him a lot of credit. And his last album, it doesn’t even sounds like the old him anymore; he’s got pianos and organs, he’s got background singer – the do-op girls in the background, he’s got horn sections, his guitar tones – he is not just using a Les Paul anymore. And for him to come out initially with just a Les Paul I think he was just trying to do something that will set them apart as a blues player. If you come out with a Strat you’re going to be mutually compared to Stephen Ray Vaughan on the blues. If you come out… possibly a guy, but obviously Stephen Ray Vaughan or Eric Clapton. If you come out with a Telly you’re going to be mutually compared to Albert Collins, T Bone Walker or Roy Buchanan. And so I think he was really working hard to have his own voice in the blues and this is something where everything has already been done. He is a thirty something-year-old guy and he’s trying to cut it and he’s white. And he’s got this super white voice too and he’s like, “what do I do with this?” I just really respect the fact that he works so hard and you can hear is technical prowl – his skills level is just insane.
Now, his last album; not Desperation Blues, but the one before that was called Shades of Blue which another student gave me from Miami guitar lessons, and with that one prior to that album he had moved to Nashville so that he could just learn the right music. And it just tells me that he fully recognized the fact that prior to that his albums were just a platform to play a guitar solo and it wasn’t a whole lot of musicality prior to the guitar solo, there wasn’t a whole lot of lyrical content that would really draw you in. I’m sorry, I’m a big fan of him, but I want to be brutally honest to where he was and then where he is now. While giving Miami guitar lessons I saw him move from that to really value singing and song writing and lyrics and changes and arrangements and instrumentation and then to the point where he was ready to turn his life upside down- move there and not record another album again he said, until he can really write a decent song. I heard him in an interview saying that. I thought that was really good. I think gear wise too he has been a true tone connoisseur and he came up playing Les Pauls. He had everything from like quarter of a million-dollar Les Pauls to just about everything you can imagine. But in his tone before, I mean, he would like six different amps, he was very Stephen Ray Vaughan. Now, on his last album and on Desperation Blue and on Shades of Blue he’s playing every single tone: I’m hearing Telecasters, Strats, Les Pauls, Explorers, Slide, Acoustic he’s using everything and amps – again, he’s playing everything.
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He’s got a really cool sound; he’s got a really cool compression going on recently on his newest album. I like to discuss his tone in Miami guitar lessons. I’m curious as to – is he getting that from a pedal? It sounds to me that’s being applied later in the mix by the producer, but it’s just really nice just slamming compression that sounds amazing and he is using great tones. His last album I’m hearing even crazy, like, digital whammy sounds blended with acoustics, blended with slide, lead playing it’s pretty massively done with the chorus of girls in the back ground giving you the stick sound. And he goes all the way back to the 60s and then the 40s and then the 20s – in the 1920s I’m talking about, you go further into the album he just takes you further and further back until he is doing like old school blues and swing jazz and dig dance, but with a modern edge and killer guitar tone, I mean sick guitar tone and you could just tell how painstakingly careful he has paid attention to detail and it’s really showing. I think he’s just now in this last album I would say coming into his own as an artist and blooming. And by the way, that’s a common problem, it’s typical as a player coming up to have a great live sound if you’re an amazing player and then in the studio you just can’t quite capture that. Blues is great to live, but not a lot of people can do great recorded blues or recorded rock the energy isn’t there and the similar story with Derek Trucks.
I first heard Derek Trucks I went to see Eric Clapton while giving Miami guitar lessons and my student gave me a free ticket. Derek was playing guitar with Eric Clapton; he wasn’t opening for him he was playing with the band and he killed it. And the first time I saw him he actually way out shined Eric Clapton, like, just destroyed it and my jaw was on the floor and I was worried for Eric for like a good half of the show I was like, “oh my goodness, Eric Clapton, what are you going to do? This kid is just wiping the floor with you and Eric’s just like, “fine,” he’s just playing, smiling and singing. And then it occurred to me that Clapton already knew that Trucks was good and they had been touring the whole world at this point and I was like the last one to find out. So then I was like, “oh, wow! Wait a minute, they’ve done a whole tour and they’re doing this every night” and Clapton knows exactly what Derek’s going to do and Clapton knows that he’s being out shined by this 27-year-old kid or 29-year-old kid at the time and he doesn’t seem to mind and that really spoke to me just in terms of Clapton’s intense maturity levels, his lack of competitiveness, his lack of cutthroat competition and his real desire to let someone that’s really good to shine and give him a platform and that’s exactly what he did. And so I saw Clapton again the next year and Derek Trucks was with him again and he did the same thing, he just cleaned up, he just killed it and Clapton was loving it and I think that’s really cool of Clapton. You’ve got to realize these rock stars they are only humans, they’re only as good as they are – Clapton, he’s only as good as Clapton and so many people love him and then you see somebody just totally outshine him on stage and he’s okay with it, he’s is actually very secure and I thought that communicated something deeply to me. He is a favorite topic during my Miami guitar lessons.
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I saw Derek a second time with Clapton… then I was working – I work as a guitar teacher doing Miami guitar lessons, but I was doing some part-time work as a roadie and I roadied for his show, the Derek Truck’s band when he was opening for his wife, Susan Tedeschi. At the time they weren’t doing their together music; he would open then the wife would close or she would open and he would close they take turns. So I actually got to meet him. I was backstage just hanging out with the roadie building the set and I got to just have my hands all over his guitar and amps and what kind of tubes he’s using. Very straight up set, I mean, the guy plays and he’s just got two super reverbs and he just clicks one set to clean one set; it’s an overdrive and there’s just the volume and he just clicks between them for a lead or for distortion to clean and that’s it. He plays mostly finger style and then mostly with a slide and that’s it. When I saw Derek Trucks play his Derek Trucks show thing it was amazing, it was seriously like an out of body experience, it was like seriously like – I kid you not – it was like a spiritual experience. I felt something in my heart like my soul left and Derek just plays with so much soul that something just really came alive in me as a player and that rarely happens. It’s happened with Derek Truck and it happens also with Joe Bonamassa for me and that’s it in terms of all these people I just named, but he could play with so much fury and passion.
But again, I bought the CD and it really didn’t translate live, it didn’t translate over. I listened to it during Miami guitar lessons and students didn’t like it either. I listen to the studio cut and it was pretty flat. So I talked to people that have never seen Derek Truck live and they’re like, “yeah, I’ve heard about Derek truck, I guess he’s good or whatever.” But I understand why they have like a mediocre view of him and the same with Joe Bonamassa they are like, “yeah, I’ve heard off him, but he ain’t got no soul,” you haven’t seen him live. And then now Joe has figured out how to really kill it live, so he’s doing fine in that department. When it comes to Derek Trucks…
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I saw him the fourth time, and this time with his wife and they were doing their band thing. I forgot the name of their band, but they have like their own new music now together and I really didn’t like it that much, it was okay. Well, I take it back, it was actually really good, but I guess Derek had set the bar so high from his last Derek Truck show that my expectation was he was going to do what he always did and instead he was very laid-back and dumbed down and kind just let the band and other musicians be featured which again is very humble of Derek, it’s very magnanimous, but Derek could just rip your face off with that guitar you’ve got to understand. I was like, “dude don’t hold man.” His playing style had changed; he was still doing finger style, but he was not using a slide nearly as much, maybe two thirds of the night he played without a slide he just used finger style. He used very cool tunings, open tunings on various different scale. He is a very creative player. Mostly still just the SG, I think now he’s endorsed by PRS and he’s using PRS amps and so is John Mayer and I’ll talk about that in a sec.
PRS amps, for all I can tell I follow a few other players that’s used them and they seem to be really, really good. I personally don’t use them in Miami guitar lessons, because they are really expensive and no one stocks them – rarely we see a store actually stock a PRS amp. But anyway, so what I can say about Derek Trucks I wish his live sound was more intense like it used to be. I think he was really onto something before and again, he’s human, he’s not bulletproof, he got married to this woman Susan Tedeschi who is an amazing artist in her own right and they had to make their marriage work and they had to make their music work and a part of it I think he just gave up a lot of the dominance and over to other players and his wife. I don’t blame him; I have tremendous respect for him. And I see artist little different than most people do I really see them as human beings and I really actually am compassionate to their hang-ups and their predisposed issues whether they…
One of my complaints about Derek Trucks is I wish he sang, I really do. I am a guitar player giving Miami guitar lessons and I learned that how to play first and then learn to sing later. Singing is really hard and I can appreciate that. Joe Bonamassa’s singing wasn’t that great. It’s a lot better now, but for years it wasn’t that great and I give them so much credit for singing and trying and taking lessons and doing scales and working on his lyrics and working on his song writing and working on his harmonies and it’s so much easier to just be a Slash and just bury your face in your hair and to just play. But the problem is there already is a Slash and guitar players are a dime a dozen. There are just a million guitar players out there plunking out the pentatonic scale taking Miami guitar lessons that if you don’t do something unique and sing, you don’t actually bring something that’s truly original unless you’re just really, really off the chain. Now, Derek Trucks is really off the chain, so I’ll give them that, but I too wish he would sing. I think that would really complete something. Instead of singing he had to go find a singer and in finding a singer I think it – one could say complimented him and added to his message but I think he is compromising given up more than if he had done the hard work to just sing. Even if he was like sucky at singing one thing I found I’m also a voice teacher and I’m also students of the voice and even if you suck at singing you can learn you can train and you can do it and that’s where I give Joe Bonamassa a lot of credit.
Speaking of guitar players that don’t sing, Kenny Wayne Shepherd. Kenny Wayne Shepherd is an amazing guitarist; anyone that got that good deserves a round of applause, absolutely. But again, I wish he would sing. And he used to sing, that’s what really drive me crazy. I’ve seen him live a couple of times with students that I teach Miami guitar lessons to. He used to sing, he did that blue and black and he didn’t have an amazing voice, but it wasn’t bad. If he had developed it for the last 10 years he would be somewhere else, instead he went to go find a singer and that totally changed the sound of his band and he just became the Kenny Wayne Shepard band with a singer. It’s kind of like Yngwie Malmsteen and even Yngwie Malmsteen sings now. I’ve got to give him credit. I don’t really like Yngwie Malmsteen’s singing, but I give him tremendous credit that he sings. I think because you retain creative control and you actually create something so much more, you bring so much more to the table that just chords and rifts when you sing.
Warren Haynes is a great singer and a great guitar player. He never really hit it mainstream as an artist individually, but he has been a major pillar in the Allman Brothers and he’s a major pillar. I think when Warren Haynes dies – not that I’ll ever wish this on a Warren Haynes – but when he dies I think it will be a whole new revival for his work and how amazing of a prayer he is, but until then he goes more or less I think underappreciated. He is a favorite topic in my Miami guitar lessons. I think he deserves a lot more credit because he does all that stuff he’s got great tone, great chops, he got an amazing singing voice and he’s just an all-around solid player.
John Mayer, want to talk about him I have a lot of mixed feelings about John. This topic comes up a lot in Miami guitar lessons. First, let me say that he is tremendously, tremendously talented. Actually, probably of everyone I’ve mentioned today he’s arguably the most talented and Eric Clapton said that too, he said something like that in an interview that John Mayer is just unbelievably talented or something like that. John Mayer’s talent is undeniable, his voice is great, it’s obviously a problem he had to have that surgery and that really stomped at his high range unfortunately. Largely because he sing with a bad technique so hopefully he corrected that, but now he’s got this post surgery thing where he can’t sing high note that well. His playing is phenomenal. Seriously, I am grateful to John Mayer because he has brought blues into mainstream where 14, 15-year-old girls are listening to it now, Who Da thunk it.
I have this serious qualm or complaint against John Mayer and that is; if you can play that mean blues, that crossroad blue that you know how to do so well, why do you sell out and do that bubble gum pop with the googly eyebrows with “Your body as a Wonderland”? Even when you say in interviews that you wish you didn’t have to do that stuff and you wish you could just for your blues and you do it anyway, I have a serious qualm with that. And I think we know the answer why he does it, he does it because he gets way more money from that and that way he can make his monthly yacht payments and pay for his five houses and jet and everything; in other words, I think he figured out the formula to win the hearts of these 14-year-old girls with his acoustics singing these love songs and that alone is commendable most people don’t know how to do that and he did it and he hit it big, but that wasn’t where his heart is. I wish at the beginning of his career if he had just played that blues and sang and doing what is doing know with the John Mayer trio. If he could have just stuck to it like Joe Bonamassa, just stuck to it; he would’ve never been torn and conflicted and everything that’s going on now where you’ve got this big overhead, you’ve got big life with all these big payments you are making for your grandiose lifestyle and that and the only way to bankroll it is to do this music that you openly acknowledge in interviews that you don’t even want to do. And then where your heart is to be original and true to who your heroes really are where you really can’t afford to do that, because your life is so expensive paying for everything else. He’s just insanely talented and I would have so much more respect if he could just muster up the courage to follow his heart. And the so great player, he used to play Fender. I think he broke up with Fender and now he’s playing PRS.
I want to talk about PRS for a second actually. PRS, they make good guitars I have a PRS, I have a private stock 513 which I use in my Miami guitar lessons. But PRSs they’ve got so many gizmos and gadgets and bells and whistles and special signature pickups under their patent and then split tones and paralleling wiring and series and humbucker to hum cancelling single to Pas that will blend if you hit the switch. There is so much available with the PRS and I think a lot of it is over kill, that’s my honest opinion. I am a full-time player with Miami guitar lessons and I think a lot of it is over kill. Give me an old Gibson, give me an old Fender and I’m fine. And I think the reality is… and I have a nice PRS that cost me an arm and a leg I have a 513. The number 513, it means a 5 way toggle and there are 13 different sounds and of the 13 sounds. I think I use mostly like 3 of them in Miami guitar lessons because the truth is when you get your pickups and you’re playing and you get your sound to come through your quarter inch cable and it hits your preamp or if you’re using a stereo your preamps and then hit your power amps and then from there hit your speakers and then went through your paddleboard and then it hits your amps and them it hits your speakers and then it hits the microphone and then from the mic it hits the board whether the add the compression or maybe some reverb or delay or whatever. And then they tweak the EQ and then from there they blend it with the whole band with the acoustic guitar, the electric guitar, the bass guitar, the drums, the keyboard, the piano, the organs, the multiple backup singers, the lead vocals and then from there that sound gets pumped through the house amps, preamp and then power amp and then through the main speakers and then to the ears of the audience. After all that no one is going to know that you hit the button on the thing – you activated the special gizmo, it’s all the marketing. There are these rich guys and they’re just sitting there in their bedrooms playing and you’re just marketing, “hey, this guitar can do these 16 different things that that old Strat could never do” and it’s like, “yeah, all your heroes keep in that old Strat, haven’t you noticed?” So what is it about that old Strat? Well, you’ll never know because you spend all your money chasing all these bells and whistles and gizmos and gadgets on the PRS. And they are good, personally PRS is a company, I was a fan of them – I say was because after they got that Korean SE model thing going I thought that was a major downturn for the company but some of my students bring it to Miami guitar lessons. And I think there are true American-made and very just niche markets high-end they had a good thing going on. When they split and then started having this more economy kind of level available to the public and to merge with the Korean manufacturers I thought that was a step down. But anyway, this is my opinion some people are really into PRS; like I said they are amazing guitar, they sound great.
For me, being a full-time player giving Miami guitar lessons it’s not that I’m looking for a great sounding guitar believe it or not; I have a whole bunch of guitars. I am looking for a guitar with character; the guitar wants to be played the way she wants to be played and I have to come in and respect that and be like, “okay guitar person whatever – what do you want to do? How do you want to be played?” It’s not I’m going to get my sounds and I can get my sound in 13 different ways. I get that, but there’s another level to this thing where when I go to play a guitar that guitar has its own character. So I like that, it’s kind of like if I was to ask a woman on a date and said “hey will go on a date with me? I’ll take it to your favorite restaurant, I’ll take it anywhere you want to go wherever you want to go.” And then she’s like, “[Yawn] that’s so boring,” or if I’m like, “hey, I’m going to take you and I’m going to take you here, this is my spot,” and it’s like, “oh.” Well, maybe she’ll like it may be she won’t, but either way it an opinion, I’m bringing something to the table, there is something to be reckoned with there. That’s how I like guitar; bring something to the table, don’t be so transparent that you’ll be anything – not all thing is for all men – have something, “man that old Tele is just stubborn man, it’s a one trick pony it does what it wants to do and when you’re doing that song you need that Telly,” or I would never have thought to get that kind of tone if it wasn’t for the Les Paul, sounds like a Mack truck. But because I played it I started thinking of different rifts and different ways of playing inspired me to sound huge. So that’s kind of where I’m coming from when it comes to PRS and gear in general.
I must talk about a couple of these other guys whose name come up in Miami guitar lessons: Billy Gibbons, at the end of 2015 he came out with Perfectamundo. I did listen to the album very, very cool guitar sounds and really nice groove – kind of a Mexican funk thing. I see why he did something different from ZZ Top because it’s totally different, it is different. Billy Gibbons’ solo is definitely different. But then, again, Billy Gibbons can do stuff like that because he sings – point taken – that’s what I want to say to Kenny Wayne Shepard. Kenny Wayne Shepard’s big hero is Stevie Ray Vaughan and he sang. See when you sing – if Stevie Ray Vaughan is singing it’s the Stevie Ray Vaughan band. If Stevie Ray Vaughan didn’t sing he’d have to go find a singer and they would call it journey, I don’t know what they’d – call it Boston, they’ve got the call it something. But when you sing and play – that why John Mayer is John Mayer, that’s why Eric Clapton is Eric Clapton.
When it comes to Eric Clapton, by the way, I’ve seen him a couple of times. Nowadays, he just plays his Clapton Strat and his Clapton amps. I think in 2005 he came up with the twinolux which is two 12 slushy cream backs and it’s basically like a Fender twin with the tremolo and reverb, I believe. I use it in my Miami guitar lessons. You know the cool thing about Clapton is the gear, he’s over it, he can get his sound out of 2016 Fender gear. Fender is a great company; they don’t pay me to say that, but I’ll just say it Fender is a really, really good solid company at least for now in 2016. A lot of guitar companies are kind of going downhill, like I mentioned PRS and then Gibson’s been going downhill I think since 2008 or 2005 actually, Gibson has been going downhill. But Fender is really, really good high-quality – grab any Fender on the wall at the store and they all pretty much sounds great and they all sound the same, there is a consistency for them. There amps sound pretty good other than the fact that they use groove tubes as their tubes, I don’t like those. But anyway, Clapton gets up there and he just plays his guitar. When I say his guitar he’s got a signature guitar and a signature amp. He’s got a couple of signature amps he’s got the twinolux, he’s also got the blues junior, no, he’s got a Princeton signature, which is okay it’s not that great but somebody brought it in one time for their Miami guitar lessons.
But Clapton brought a lot to the table. One of the things that Clapton brought to the table in terms of guitar tone is the Les Paul Marshall combination; Clapton brought that to the table with this gears in cream and that’s obviously was a heavy influence for Slash by his own admission where Slash says his biggest influence or his favorite guitarist was Eric Clapton. This is a common topic in Miami guitar lessons. Of course Eric Clapton says he’s embarrassed by the fact that Slash heralds him as his hero, he’s like, “Stop talking about me kid.”
But Slash, who is worth mentioning, is another guitar hero in 2016 especially with the reunification of guns and roses by the way. He is also loyal to the Les Paul Marshall combo; he has never changed and I give him the credit. I’ve seen him live as well; he was okay, he actually was kind of bad. I feel bad saying it, Slash is such a hero of mine, and we talk about him a lot in Miami guitar lessons, but live I actually was pretty disappointed. Slash seemed bored and the sound was horrible, that’s not his fault. He’s playing with Myles Kennedy and he might’ve been bored with the musicians. The musicians were excited, they were all excited jumping around all excited to be playing with Slash you could tell, but he was just like, “whatever.” But I felt bad for the guy, but I really commend him he stuck to it and he is been able to forgive Axel and John to his credits and now that’s been a major career move for him. He was already at the top of his game in 2015, but now he’s just catapults it up. So now back on tour with Guns N Roses and the old Guns N Roses and it’s amazing. And his guitar tone – a lot of my guitar students taking Miami guitar lessons want that guitar tone. I say listen if you want to sound like Slash, go buy a 1982 Marshall, get a Marshall 2203 amp and get like a 1983 Gibson Les Paul and plug it straight in and now you’re going to sound like Slash. Slash is using the celestian vintage 30 speakers or you can get the 4*12 greenbacks. It’s just that simple, don’t believe all the hype from music stores and just by the actual gears that the actual people play and you’re going to sound just like them.
So I give Slash a lot of credit just in terms of that. Again, I wish Slash sang, but Slash is one of the very few people that have managed to not sing and still have a massive career. Even if you look at guitar players that are huge that don’t sang, like, there is very few, Yngwie Malmsteen managed to do it even now he sings, but that’s about it. Joe and Steve, these guys they are monster players, Eric Johnson, but if you don’t sing you’re going to be in the minors, you’re not going to be mainstream, you’re not going to be playing at the Super Bowl. Slash managed to play with the Super Bowl around 2013 he doesn’t sing, so beat that Kenny Wayne shepherd. But he was able to do that, so I give him a lot of props in Miami guitar lessons.
Anyway, of course it’s worth mentioning Gary Clark Junior, he’s definitely a force on the scene and I like the fact that he’s black. I wanted to mention one thing about Joe Bonamassa sounding black; Joe can play in a way that sounds black, but he can also play in a way that sounds very white and usually sounding white with blues is a bad thing, that’s like a bad word like you don’t want to sound white. But Joe makes sounding white cool and he even incorporate like modal playing and like major scales and even like a classical feel. We discuss this in depth in out Miami guitar lessons. Some of these songs especially there was live at the Royal Albert Hall, The Blues Deluxe – go Google that song or check it out on YouTube and really listen to all those inflections, because he sounds white, I mean, he also sounds black when he wants to, but he makes sounding white cool. I think he’s the first one that’s done that to me since Johnny Winter, because Johnny Winter had his own sound it was like a white sound but it was cool. And Joe really – it was that song, by the way, it was Blues Deluxe live at the Royal Albert Hall and he had ended up playing that night with Eric Clapton, oh, with that drummer that I had a burger with two. I picked that song apart in Miami guitar lessons, because he was able to do it.
Speaking of white and black, it’s interesting to know all these players are white except for Gary Clark Junior, but it’s very conventionally accepted now for players to try to sounds black to get that black groove that late in the pocket sound. And when it comes to sounding black I think John Mayer has worked really hard and so does Derek Trucks. You’ve got to understand, white people; we have to work hard to sounding black. Black people are just born to sound black which is amazing; it’s great, I’m jealous. For me personally I have to work at it. I work with this concept with in Miami guitar lessons. And so that’s kind of interesting. Derek Clark Junior I love the fact that he sings, so he can just play his blues and sing. I mean, he’s there, that’s just an important point to be said. Feel free to comment below your thoughts and opinions and don’t forget to subscribe and and check out my website. I’ll see you next time guys. I’m out.
Check out my last blog on Ed Sheeran’s Thinking Out Loud as well.