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I’m not sure, but I hope he knows what he’s doing, because, like, if I wanted to play like Jimi Hendrix–I’m noted as a blues player. Buddy really don’t like to play blues no more. That’s the reason why he plays like that.
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Well, see, Buddy’s been introduced to Jimi Hendrix. Like this? ĭid you concentrate for a long time on your intonation? When you bend, it’s always right on pitch–in contrast to Buddy Guy, for instance, who often bends up to notes that don’t necessarily have anything to do with the key of the song. There’s so much music around, and you get one particular music in your ear, and then you start playing like this other person. I appreciate a musician being versatile, but I look at them and think “Well, can he get his own identification?” I wonder about that a lot. I hear when Stevie Ray Vaughan is playing like Albert King, a little BB then he goes into Jimi Hendrix, or me. I have pretty good ears, and I can hear it. When you hear younger blues players you must hear a lot of your influence coming out in their playing. That’s what I did–I tried to find my own identification. That’ll help you through the world.” I said “Okay”. I met B.B King when I was 20 years old, and he told me “Man, find your own identification. I really wanted to do that, and I used to sit down and play all those guys’ records. Well, they really inspired me, when I went to guitar. Your style is powerful and electric obviously at some point you took a left turn from your early influences such as John Lee Hooker and Lightnin’ Hopkins But I do notice that Collins seems to be quite a name-dropper, usually in ways that help to put himself over as a legitimate king of the blues. Re-reading the article, I find it less interesting than I did at the time, and less educational than other articles with bluesmen from the time period. Playing essentially in first position at all times he uses his capo to locate the song’s key up and down the neck-hence using only about a third of the fretboard at times.” He also played through a 100 watt Fender Quad Reverb, with volume on 10, treble on 10, middle on 10, bass off and reverb at 4. Basically, “he tunes to a minor chord…an F minor triad or a Dm7 flat 5 without the root (F-C-F-Aflat-C-F low to high). I feel that the article is a bit too “fanboy-ish” at times, but it does a good job of describing the technical aspects of Collins’ sound and how he got his tone. The cover story is by the always reliable Dan Forte (who doubled as “Teisco Del Rey” who wrote about oddball 60’s guitars) and is called “Blues Meltdown: The Power of Albert Collins”. The physics article is quite interesting indeed, and reading it NOW is quite educational, but I think it went over my head three decades ago. I’m sure that I read the rest, but it doesn’t really leave much of a memory. I can remember totally immersing myself in the Collins article (after which I cut out the first page and hung it on my bedroom “Wall of Fame”) and I know that I dug the piece on Janes (in fact, it is definitely this article that clued me into his existence, as well as the background of one of my favorite songs, Billy Lee Riley’s “Flying Saucer Rock and Roll”. But the country picking of Jerry Donahue, the highly detailed article on the physics of sound, a 5 page spread on the E-Bow, and a great interview with rockabilly legend Roland Janes of Sun Records was icing on the cake! I was already a fan of cover artist Albert Collins (I owned a “Master of the Telecaster” t-shirt) and watched MTV’s “Headbanger’s Ball” every weekend so I was certainly interested in what Steve Vai had to share about recording David Lee Roth’s latest album.
#Teisco del rey dan forte full
The May 1988 issue seems to be chock full of the kind of variety that made GP so great back in the day, especially for a young person still learning about music, musical genres, and the instrument itself.