I'm pursuing soundtrack work in the southern California area and down the line I plan to make a moody, intense acoustic album. Not all acoustic, but an acoustic - oriented guitar record that I've already written most of the material for.
I was following my muse and I was very fortunate in having good people around me and it turned out to be a pretty good recording in my opinion.
I was too broke to buy a guitar so I more borrowed guitars from friends.
I had prostate cancer that, for me, was debilitating. I didn't touch a guitar for two years, but when I realized I was seeing the light at the end of the recovery tunnel and was going to live pain-free, I realized again that it was a fun little instrument to play.
But it has been a long process because I'm kind of a renaissance person.
Because it was the original 4 guys, and the dynamic of those 4 guys interacting together that had the power.
Gamma was a logical progression after doing the Open Fire record.
I don't recall getting a first guitar.
I would say seeing the original Yardbirds with Jeff Beck and Jimmy Page at the old Fillmore was a pretty powerful influence on me.
You know, you don't please everybody.
Attempting to write vocal oriented songs to me felt like going through the motions and if you are going to go through the motions you might as well just do any gig that caused you to do repetitive motions like banging a hammer or serving fries.
I am very aware now that music is a business, but there is also a way to go about making music that is true to yourself as opposed to doing, you know, just going through the motions and making things that would just be commercially successful.
I shared guitars before I actually got one of my own and played a guy's Silver tone and played another guys Danelectro 12 string and it was at about age 17 that I actually started playing.
I was producing demos for a band that was called Physical Ed. Out of production of demos I went and did a few jam sessions with then in Northern California clubs, but I never actually toured with them.
I was working with Bill Graham management at the time and it was obvious to everyone concerned that albums like Open Fire, while they were good for me creatively, were not going to be commercially successful.
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