When and why did you start to play guitar?
I played piano by ear at an early age, because my mom plays very well, and she showed me a boogie-woogie pattern and some other things, and I can lay tracks down on drums, bass and keys with a minimum of embarrassment. Jimi Hendrix really affected me at a young age. I roomed with my brother, who was 14 years older than me, and he listened to a lot of Hendrix, Cream and Grand Funk Railroad. The idea of being a guitar player in a power trio was cooler than just about anything in comparison. Hendrix, in particular, epitomized guitar godhood in every way. I used to make cardboard guitars and pretend to play along with Hendrix using my sister’s sewing machine pedal as a wah-wah pedal. I did a report on Hendrix when I was in the third grade. The first record I ever bought was around that time… it was Jimi Hendrix’s Smash Hits. I didn’t actually get my hands on a guitar until I was 12, but from then on it was all I cared about.
Do you remember your first gig ever?
I played my first gig nine months after I starting playing, in the cafeteria at Christ the King School, where we played an 8th-grade graduation party. It was a three-piece band, and I played a ’68 SG through a Peavey Backstage 30. The setlist consisted of instrumental versions of “Purple Haze,” “Fire,” “Communication Breakdown,” “Hey Joe” and “Wild Thing.”
Who are your most important influences in music?
I consider myself a blues-rock guitarist who learned a few country and jazz things along the way. My main influences musically range from Hendrix, Jeff Beck, Cream, Allman Brothers, Led Zeppelin then back to Muddy Waters, Albert, B.B. and Freddy King, T-Bone Walker, Cornell Dupree, Earl Hooker, Howlin’ Wolf, Elmore James to Chet Atkins, Jerry Reed, Jimmy Bryant, Roy Buchanan, Albert Lee, Danny Gatton, Brent Mason, Ray Flacke, The Hellecasters to Charlie Christian, Wes Montgomery, Grant Green, George Benson, Barney Kessel, Kenny Burrell to Frank Zappa, Little Feat, Allan Holdsworth, Sonny Landreth to the Sacred Steel slide dudes, Johnny Cash and Bob Dylan.
Is there a certain situation, recording or session you will always remember?
I will always remember recording at Ocean Way out in L.A. with a big budget, staying at the Roosevelt, being wined and dined, recording amazing stuff, convinced that we were making historic music only to have the record company sit on it and never let it reach the light of day… a learning experience!
What was the funniest thing that ever happened to you while playing music?
A girl came on stage once wearing these shoes with springs on the bottom of them and she proceeded to bounce with such ferocity that she almost bludgeoned the bassist with her generous bosoms.
When did you discover that you had a special talent to teach and to demonstrate gear?
I just had to do it, so I did it. I had a young family and gigging in hellholes was not going to pay the bills, so I went the Fender route. I always try to do whatever I do in a way that is unique and hopefully interesting. I also don’t talk bullshit. I truly believe what I’m saying and playing, and I think that comes across.
How long do you practice every day and how do you practice?
I have four young kids, so practice time is something that I covet. I have less time, but I make more of the time by focusing on a specific thing that I wish to learn. I feel I keep getting better, but I am nowhere near where I wish to be. I try to have fun with the skills I possess.
You can change your playing style from country to death metal within one second— what is the key to having all these styles ready to go?
Well, I don’t do the styles just to show that I can do them. I actually really love the different styles enough to learn them with some degree of authenticity. I’m pretty opinionated about who I like and have hyper-focused on those who have moved me the most in each genre. You will notice that I do little to no tapping, as I was never a disciple of Eddie Van Halen or any of the metal guys. I respected them for the amount of time it takes to master the technique of say, an Yngwie Malmsteen, but I have never worn spandex and I feel pretty good about that.
I have to say, I am extremely low maintenance. Therefore, the opportunities I have been presented have almost always worked out for me, because I get along with folks and I’m easy to work with. From a musical point of view, I think that my ability to play different styles convincingly and then be able to morph those styles into something different, all done with a sense of the bizarre, has had a positive impact on my career. I think I write a pretty good tune here and there and can entertain a crowd of diverse tastes… I always try to keep something up my sleeve so that I can always surprise those who think they’ve seen it all.
If you had to go to a deserted island and were only allowed to take one guitar, one amp and one stompbox with you, what would it be?
My blue Custom Shop Strat, a Super Reverb and my Gristle King pedal.