Ink19.com just posted my review of the Greyhounds – Cheyenne Valley Drive.
If you dig the Fabulous Thunderbirds, Doyle Bramhall II, J.J. Grey and the Mofro, or anything in general coming out of Austin, TX or the Swamps of Florida, buy this album or see these guys live.
Hopefully, the previous 2 posts have given you some confidence and you are starting to strum a little and make some organized noise. If you’ve hit those exercises, your fingers will go where you want and form some cool chords. If you’ve practiced the CAGED system, hopefully you’re hitting chords in different places on the neck and starting to get some comfort moving around.
This process can take the next 20 years of your life so, depending on your level of aptitude to advance, you have to decide where you go from here. Some players want to be the acoustic guitar guy/gal that pulls out the guitar and serenades the party. Some want to become Steve Vai, Stevie Ray Vaughn, or Samantha Fish. it’s all what you like and how your skill progresses.
One thing that I have yet to really address is Music Theory. I didn’t suggest getting lessons in post 1 or 2 because I never took lessons per say. I had a couple guys show me the ropes and teach me their idea of guitar playing but I never sat down with someone that taught me the A B C’s of playing and the theory behind it. I wish I’d put in the time earlier to have a better base but that’s where my playing is taking me now.
I’m not against any music theory, it was just not my cup of tea. I wasn’t a great student in geometry or science and to me, music theory felt about the same way. I think that I’ve picked up a few things here and there but I couldn’t name them or telly you what they are, I just play it.
You will need to decide how deep you want to get into Theory but I would suggest diving into it at some point. I believe that Knowledge is power and the more you know, the more opportunities it can open up. If you understand the language of music and how to fit the pieces together in a “academic” way, you may develop a style based off of one tiny piece that you pick up and can change everything.
I grabbed a book you can find anywhere called The Chord Wheel that is pretty handy for a beginner that knows their basic to intermediate chords. This is about as deep into music theory as I’ve ever gone and even this has been a big help. It may be the only Theory I ever learn but, for me, it’s a good snapshot of what I had questions about and what my next step is.
If you struggle with being a self starter, google, or ask around at your local guitar shop for who teaches the style of music that you want to play. And, even if they don’t teach the style you want, they will be able to help build that base that you need. My bigest suggestions is find what you want to play and stick with it. Don’t get discouraged, keep pushing through whatever it is.
Now, having gone through all that, here are a few videos on both sides of the issue. Watch these and then decide for your self how you want to play.
Let me know at my Instagram, Twitter ,or FB if you liked the article and if it helped.
So now you have purchased a guitar. Maybe you picked up a tuner and some guitar picks but, what do you do now? Well, now comes the fun and probably most frustrating part of it. It’s time to get to work and learn the craft.
When I started learning to play, it was during the glorious hair band days and guitar players were getting more and more ridiculous. The speed of players from the mid 80’s through the 90’s seemed to just get faster and faster and although it sounded really cool, it was impossible to play just starting out.
Equipped with an acoustic, 1973 Yamaha FG-201, I neither sounded like, nor did I have the skills to pull off those licks and runs. The guitar was not properly set up and on top of the difficulty in making chords, it was just damn hard to play. It was very frustrating and probably why I hate listening to hair bands to this day.
So what do I wish I would have known then that I know now? Patience is the first thing you need to get a mindset of. It’s going to hurt to play, it’s going to take time to figure it out, it’s going to be daunting. Stick with it and make small gains and build on them.
I suggest starting by sitting down in a chair, tuning up the instrument, and running through a few exercise to warm up. Guitar playing is a thing you are trying to get good at just like running, or weight lifting and you need all the muscles, (fingers/wrist/arm) warmed up and in shape in order to get your best out of it. The more comfortable you are with the guitar, the easier it will be.
I don’t care what kind you use but the simpler the better to start. I’ll post a video below that will show some that I think are beneficial.
You are not only warming up your muscles but also working to perfect your technique. My opinion is every time you pick up an instrument, you are learning and perfecting your technique. Make it count each time and you will get control of it before you know it.
Another thing I wish I would have done early on is find a group of songs that I liked and learn the chords. In 2018 that’s easier than ever because of the many website that have the chord breakdowns to pretty much every song you could ever want to learn. Back in my learning days you had to buy the books for the entire album and while that was great, you could end up broke trying to buy all the books for the songs you wanted.
My opinion is that, getting a couple of songs under your belt will give you tons of confidence and you are more likely to continue learning and playing. You will start to pick up the skills and technique to make those songs come alive. You will start to see how songs are structured and how the chords play off each other to make the music that you hear and now, can play.
One of the most beneficial thing I’ve picked up lately that I think would be a huge benefit is learning the CAGED system of playing chords. It’s playing the basic chords in a variety of positions and once you learn your basic chords, that acronym will make sense. I will attach a link that shows a great overview of the caged system.
Here are a couple that I found that are helpfull. Remember there are millions that you can chose from but these are a great place to start.
I’ve had 2 different friends ask me lately about guitar playing and thought I’d put together some simple thoughts that I wish I’d known when I started. I’ve been playing since I was in my early teens and am 43 now. That doesn’t mean I’m any good but, I’ve been a constant student along the way and have a few pieces of advice that may help.
I’m going to break this into a couple different blogs so you can soak it all in. Let’s start with purchasing an instrument to get you going. Here are a few things to consider when buying an instrument.
Let me begin by saying that for me, I would only buy used stuff or very low priced equipment if I was just starting off. Spending a ton of money and then losing interest is a great way for the next guy to get a good deal on what you burned out on. Have a clear idea about what you want and start simple.
The used market for instruments on either Facebook market place, Craig’s list, or the pawn shop, are a great place to start looking. The local Guitar Center will also have a wide selection in every price range. You will need to do your homework and probably not buy it your first trip but, some diligence on the front end will make sure you get a good starting instrument.
Be aware, used instruments are going to be scratched, worn, maybe some dents, but as long as the main features are solid, you’re ok. If you have a friend that plays, maybe ask them to go along and try it out if you don’t yet play or have the confidence to check it out yourself. It can be daunting so just take your time, do a little research, and keep your budget in line with your goals.
After purchasing the instrument, I would find a local luthier to set it up. Now, what the heck does that mean???
A luthier, in the basic definition for our purposes, is a guitar mechanic that will make it work. They can make a number of adjustments to make it play correctly, and make it easier for you to play. Even a cheap guitar set up correctly will make a world of difference in your frustration level with learning to play.
“A Set up” means that the parts of the guitar are adjusted to affect a number of functions. It assures that the neck is straight, that the frets won’t buzz, that the nut doesn’t grab the strings, and that you will be happy playing it. Keeping it in tune and easy to play will make a huge difference in sticking with it.
If you’re set on a new guitar from a retailer, great. You may pay a little more but you have an advantage of comparing a number of different instruments and you are relatively assured that the instrument is in near perfect shape. I would also push for them to set it up and put on new strings for you. If they won’t throw it in for free, have it done before you take it home. It will give you a good couple of months of playing those strings and assure that you can focus on learning and not wrestling a high action neck.
Now the really hard part, putting in the work to start playing. Before we get there, here are a couple videos that I found very helpful for this subject.
This video is a great breakdown of all the different kinds of guitars and showcases some of the things that I mentioned in this article. Find what you want and start to research the brands that give you what you’re looking for.
GCH Absolute Beginners guide to guitars
I follow Tony Polecastro on a number of platforms and find his videos and lessons to be the easiest and most complete for what I’m trying to do with my guitar playing. His knowledge on the instruments as well as music is why I listen closely to his videos. I would suggest once you get a guitar that you hop over to his page. I’ll link a few lessons that will help the beginner.
I hope this helps you get started and I’ll post a second blog on getting to playing soon.
Jeremy
I wrote this article for a facebook group about a recording artist, guitar shop owner/teacher, and lover of great guitar music . It’s a Q&A through email about him, his experiences as a guitar player, and while heavily favored on the Allman Brothers Band, Kunio explores wide range of interesting topics.
I’m also overly inquisitive and when I find someone like our good friend from Japan, Kunio Kishida, I simply am not satisfied with just knowing a little about him but feel that I should dig into who he is and what makes him tick. He was gracious enough to answer a list of pertinent questions that I sent him about himself and his connection to Duane. Kunio had an American friend assist him in relaying the thoughts he wanted to express, and what follows are his words and sentiments.
I believe that music can bring people together in a way that not many things can anymore and really good music can change the world. I also believe that there are certain people and certain places that are like magnets that draw people to them. Duane Allman/ The Allman Brothers Band and Duane’s grasp on music is one of those people and the ABB is one of those bands.
J: Let me first begin with where you grew up and when did music first take hold of you?
K: I was born in Nagoya, Japan in 1952. My parents liked classical music. My brother and I listened to 78 records when I was 10 years old. Then The Beatles appeared in 1964 and so we were really excited by their music.
J: What was the first guitar or other instrument that you began playing on and what were you listening to that made you want to play? Do you still have your first guitar?
K: My older brother and I started playing cheap classical guitars that our dad gave us when I was 11 years old in 1963.
J: Were you exposed to music from America/England when you were growing up or how did you get hooked on the ABB? What other musical influences do you have that you consider part of your musical being?
K: I love the Cream after the Beatles. I learned a lot of guitar techniques from Eric Clapton. I love blues style guitar and Clapton was the big hero of Japanese guitarists during late 60’s before Led Zeppelin came out. Then I started to seek other white blues guitarists and found Michael Bloomfield. I love both of them and I mixed their guitar techniques. It became my guitar style. In late 60’s, I heard the name of Duane Allman. I bought the ABB’s first album. It’s great! I love Gibson guitars but Eric and other guitarists started playing Fenders. I learned Duane’s slide guitar techniques. After Duane passed away, I listened to his Anthology album and I learned his slide techniques from this album too. I also love Dickey Betts’ sweet and melodic guitar. I listened to his Highway Call a lot.
J: I’m 42 this year and remember a time when you couldn’t get online and find anything that you wanted and the music we had was the hits from 60/70/80/and 90’s. I’m curious how Southern Rock/Swamp Music ended up as such a large influence for you?
K: I remember ABB and Derek & the Dominos became my last heroes. I wasn’t interested in any new music during the 80/90’s including digital music and disco. I was only interested in Larry Carlton. Then I quit playing guitar with bands in the mid 70’s. I worked for a music store but I always kept Swamp and Southern Rock in my heart throughout my life.
J:Did you play in any bands growing up and what were the jobs you had early on before playing music and the guitar shop? (I ask this because music as a career is still my dream and I applaud and greatly respect artists who take that jump and make a living playing music.)
K: My first band was called The Breakers then Behind the Brain during my high school days. In early 70’s my new band was the Ricefield Blues Band. We played ABB songs and traditional blues. I started playing slide guitar. We won the rock contest in 1974. I did some studio work before quitting my job.
J:You own the guitar recognized as Duane’s first electric guitar, a 1959 Gibson Les Paul Jr., that he bought by trading motorcycle parts to get the cash, and was re discovered by Delaney Bramlett in the early 70’s. How did that guitar end up in your hands?
Richard Brent at The Big House Museum in Macon, Georgia told me when I visited last month that it’s at The Big House Museum now. How long will you keep it there?
K: Yeah! I was lucky. Anybody could have bought it. I found out on the internet that Delaney had decided to sell it. My friend bought it for me from Delaney in 1999 and I’ve had it for 17 years. I brought it to the Big House in 2015 because I felt the need to show it there. I hope many of Duane’s fans will see it.
J: Did you ever get a chance to meet Delaney and talk with him about his time with Duane? You also recorded with Bonnie Bramlett and I would ask the same question about her time with Duane and if she had any stories?
K: I wanted to visit Delaney’s house but I couldn’t. Bonnie talked about Duane at the Muscle Shoals recording session. I can’t quite remember what she said. It was something like “Boy, he’s cute.” Scott Boyer and Jimmy Johnson also talked to me about Duane.
J:You also spent some time with Dickey Betts and his son Duane back in 2013 when they were in Japan, and of course on other occasions. Can you tell us how you acquired the Jessica guitar, what kind of conversations you have had with Dickey about playing music and any advice he offered? Are there any Duane insights that he shared?
K: I talked about Jessica with Dickey in 1992. He said it came to be in a bad condition so he traded it. I received it during the recording session at Muscle Shoals Sound Studio in 2002. It was a good setting but it was really difficult to play. Unstable tuning and bad neck condition. Our repair man started to repair it after we returned to Japan. It took 2 years. Now, Jessica is a great Les Paul again. I brought it backstage at a Dickey Betts show in 2013. Dickey wasn’t interested but his son Duane was. I think he was tired of talking about Duane so I didn’t ask it.
J:What other guitars do you own that you keep in regular playing rotation and which ones are kept away for safe keeping?
K: Now I play ’52 and ’58 Les Paul gold top and my Alabama Boy that I ordered from RS Guitar Works in Kentucky.
My main guitar is Nancy (1959 Les Paul burst) that I got in 1989 and have used for many live performances and recording sessions. I brought it to Muscle Shoals for the second recording session in 2004. Most of my albums (3rd, 5th, 6th,7th and 8th) I recorded with Nancy. I don’t play Nancy on stage now. I will only play Nancy and Jessica at recording sessions.
J:I believe that Richard also told me that you owned Duane’s original Zebo strap. Are there other items that you have acquired that you would like to share?
K: Yes. I will bring the Zebo strap to The Big House Museum in the near future. I love my many friends who I met in Macon in 2015 and 2016.
J:I read in the 2013 interview by Michael Limnios that you were in a car accident in 1983 that took you away from playing for a number of years. How did you get through that experience and how did that shape you when you recovered?
K: I had bad luck from 1983 to 1998. I got whiplash 5 times in 2 years. I felt dizziness and pain every day. I could not play guitar. My family, my friends and customers took care of me. I was surprised by many things that happened then. Dickey, Gregg and Allen visited me. Clapton’s Explorer, Duane’s Les Paul Junior, Zebo Strap, Jessica and many great guitars came to me. Unbelievable! It was a miracle I could record at Muscle Shoals with Duane’s friends. I believe Duane always helps me.
J:You have a very high end vintage guitar shop that you operate, Nancy. When did you open that up and what is the significance of the name?
K: I opened Vintage guitar shop “Nancy” in my home town Nagoya Japan on 23nd September, 1988. Nancy is my guitar’s name. I decided to use it as the shop name. Then I opened a branch in Tokyo. Tokyo is my second home town as well.
J:What kind of inventory do you keep on hand for vintage instruments versus newer instruments?
K: It’s completely different between vintage and new. Quality is different. Price range too. I love new guitars and I want to sell both. Also I’m advising many guitar makers.
J:What are your favorite instruments that are either for sale or in your personal collection?
K: No.1 is Les Paul, No.2 is Strat, No.3 is Tele No.4 is ES335. I love traditional style.
J:Do you have T Shirts for your business for sale?
K: I sell my Kunio T-shirts in Japan. But many people from USA have asked for them so I will sell them in USA soon so I will get a PayPal account.
J:I saw a picture on your Facebook page comparing the first time that you visited Rose Hill Cemetery in Macon, Georgia in 1981 to the most recent trip. There has obviously been a long history of your admiration for Duane Allman and I was curious how that first trip came about and how did Macon compare in 1981 versus this last time you went?
K: No. It was in 1979. My friend drove from Nashville to Macon with me because I really wanted to visit but I didn’t know how to get there. When I visited Duane and Berry’s graves, I was so sad. I didn’t think to visit again because it was so far from Japan. Next time was in 1988 and the third time was in 2002, the fourth in 2015 and the fifth in 2016. I could feel Duane and Berry’s presence from Japan because I have many friends in Macon now.
J:I’m a late addition to the Allman Brothers fan club although I grew up listening to their music but not at a fanatical level as now. We may have already covered this in previous questions but were you aware of Duane when he passed in 1971? How did you get to the point of making a trip to Macon to visit and pay your respects?
K: I don’t know why I wanted to visit his grave in 1979. I’m just a big fan. After I recorded with Duane’s old friends at Muscle Shoals, I needed to visit his grave and Macon. Since the last traffic accident in 1998, a strange thing happened. It is all about encouragement. I came to think that Duane would surely watch over me. So I decided to donate to the fence around Duane and Berry’s graves and go to Macon where I got a nice experience playing in Macon.
J:I believe that I also saw a picture of you and Kirk West from either that trip or another one. How did you meet Kirk and how did that friendship come about?
K: I met Kirk in 1991 and 1992 when the ABB played a concert in Japan. I missed meeting him in Macon in 2002. We later met on Facebook a few years later. I visited and played at his gallery in 2015 and 2016.
J:As well as owning the guitar shop you are an accomplished recording artist with I believe 11 CD’s available. From your website I was able to listen to a number of tracks and gather some info about your recording career. You recorded the first album at Muscle Shoals and have worked with Johnny Sandlin on a couple different albums and recorded or played with a number of people that also played with Duane.
K: It’s actually 8 albums. Yes, an act of God! Everybody was so kind to me. Johnny was our boss. He collected members: Paul Hornsby, Jimmy Johnson, Mickey Buckins and Bonnie Bramlett. Scott Boyer came during the session too. I asked him to help with my recording. I’m still excited because I could feel Duane. I believed Duane touches me when I play slide guitar. He gave his inspiration to me at the end of song “It’s You.”
J:What is the feeling you get working with these people and what have you learned about Duane through these experiences? Are there any stories or pieces of information that have helped you understand the man and his playing that you can share?
K: Yeah, Paul and Johnny talked about when Duane started to play slide guitar in 1968. They could not listen because Duane had no technique and it was a bad sound. Ahaha! Also, Jimmy Johnson explained Duane loved to use old batteries on his Fuzz Face pedal. He did not like new ones.
J:I decided a couple of years ago to really dig into slide playing and was immediately drawn to Duane and the Allman Brothers music. It’s a struggle not to sound like cats fighting in an alley and I wondered what is your advice for playing slide?
K: Which finger do you use to hold the slide? I use my ring finger. In my case, my middle or little finger hold the slide while my index finger touches (damps) the strings. It’s standard form so we can prevent ‘cat noises’. How does this sound to you?
J:Along those lines, considering all the people with whom you have interacted who knew and played with Duane, have you picked up any technique from them that came from Duane? (I’m thinking of Dickey when I ask this question.)
K: When I became aware of Duane and Dickey in late 1969, I already had my guitar style. I only learned Duane’s slide technique and Dickey’s country style. My slide guitar style came only came from Duane and old blues players. I didn’t copy any other slide player (Ry Cooder, Jeff Beck, Derek Trucks…). I was hugely influenced by Duane’s slide style.
J:When you play an ABB song and specifically the solos, do you work out the parts note for note or just get the general feel of the songs and keep some of those signature riffs?
K: No, I don’t. But many of the live audiences have said my playing is very similar to Duane’s. Ahaha. I’m proud!
J:Every year on the date of Duane’s passing you have a memorial/tribute show. What is the set list like and who are the musicians that play with you?
K: I’m not a band master. I’m requested to play Duane’s part. As I want to play my own music, I promise to play with them 2 times per year.
We played original band’s songs: “Statesboro Blues,” “Don’t Keep Me Wondering,” “In Memory of Elizabeth Reed,” “Whipping Post,” “Midnight Rider,” “Black Hearted Woman,” “Don’t Want You No More” and “Stormy Monday.” We also played “Jessica” and “Southbound.”
J:What kind of turnout do you get and are you converting people into new Allman Brothers fans?
K: I hope so. There is not big guitar music market in Japan. I need to feel we show great guitar music and guitar sound to young people. It’s my main reason why I play guitar and music again. Amateur bands can’t play ABB. Our tribute band members are all professional musicians. We play great ABB music for the next generation. I’m happy some young musicians start to copy ABB and my music.
J:You also have a beautiful bracelet that you sell that is a replica of the Zebo strap. I think it’s a beautiful way to Remember Duane Allman. Are these made locally in Japan and do you have an online store where people can purchase them?
K: Originally Mr. Charlie Whitt made it. He gave me one in 2015. It was small for me but I ordered one for my friend. Everybody likes it. I brought some to Macon this year but I only sell them in my stores from now on but soon I will sell them by mail order on my website.
(UPDATE:These are now sold at the Bighouse in Macon, Ga. contact them through the website below to purchase)
J:Once you’ve had a chance to reply, I may have some more follow up questions but I really appreciate you taking the time to reply and share your story with us.
K: My pleasure. I am honored to be able to answer your questions.
J:I am very happy that someone like yourself has Duane’s and Dickey’s guitars. I find it a shame when someone collects instruments because they have the money but they sit in a vault and never see the light of day.
K: I don’t know. But I believe a guitar chooses the owner. I wished to show the guitars to Duane’s mother but I was late by 6 months.
J:I feel that the Gold Top is in the perfect location and that Richard and owner, Scot Lamar, are doing a great service to Duane’s memory by keeping it in the hands of musicians and in front of the fans.
K: I agree.
J:Galadrielle is also an amazing steward of her father’s memory and instruments and I was very excited to see all three guitars together for the last go-round at the Beacon in 2014.
K: Me too. I hope Galadrielle was happy.
J:Thank you again Brother Kunio san.
K: Thank you too.
Brother Kunio emailed me most of these pictures for use for this article. I didn’t list any photographers but if your work is displayed here, please let me know and I’ll gladly add your information on the photos.
Kunio’s websites are below and also the link to the Big House Museum. The Big House Museum houses the soul and spirit of the Allman Brothers and is a great place to visit and support.
Music always has been and will continue to be my number one passion throughout my life. It stirs my soul and makes me feel alive while I listen to and play it on my guitar. It is the driving force to everything that I do and once I figure out how to pay the bills with it, it will probably consume me entirely.
Of the music that I gravitate towards, The Black Crowes completely dominated that number one spot for about 15-20 years. The 1990 release of The Black Crowes Shake Your Money Maker blew my f’n mind and became the guide book that I devoured daily trying to get a handle on what I was hearing. It was so, so different from everything else on the radio and at that time and I couldn’t get enough. It became the only cassette tape I took with me in the car.
These Atlanta, GA natives gave me straight ahead rock and roll in a mostly open G guitar tuning that changed my guitar playing and took it to a different level. Rich Robinson’s subtle, yet creatively intricate way of building a song is, to this day, a major influence on the way I play and what I look for in new music. From the very first Open G chord that kicks off “Twice as Hard” to the hidden “Live Too Fast Blues/Mercy, Sweet Moan” that fades in and out at the end of the album, my life was changed.
It was a 2 year and 3 month wait until The Southern Harmony and Musical Companion was released and brought me the next piece of the musical puzzle in companion guitarist, Marc Ford. That album is a textbook of 2 kindred souls playing with their hearts on their sleeves and once again schooled me on what I should be striving for as a player.
When Marc was no longer in the Crowes…it was a musical heartbreak and left me a little lost. While the albums after Three Snakes and One Charm didn’t grab me like the early work, I still supported the live shows on numerous occasions. One show was 5 days after I was married in Hawaii and I made my wife come back a week early to see the Band in San Antonio, TX at the Majestic. (I wouldn’t bring that up should you ever meet her!! )
While the band was always in top form, I missed hearing Marc and Rich weave a tapestry of “Soul Singing” music that I’d wrap myself in. I always enjoyed the live shows and intently watched Rich to gather as much mojo as I could from his playing. The different players that held Marc’s place did a good job but there’s only one Marc F’n Ford!
So where is all this leading? An opportunity I caught wind of around June 2016 about an opportunity to see Rich record his next album in Woodstock, NY at Applehead Recording Studio. And the kicker was that Marc was going to sit in on some of the songs. My brain exploded and I called my wife at home to discuss the possibility of making it happen.
She saw it as a once in a lifetime opportunity and managed our 7 month old, 3 year old, and a 5 year old by herself while I flew out Saturday morning and back Monday morning in time for work. It was a tight schedule and I had some emails back and forth with Michael Birnbaum, co-owner of Applehead, about my schedule. I wanted to make sure I could get in once things kicked off.
Michael was extremely accommodating and said to just check in with the on hand staff and they would get me taken care of when I arrived. My 5:45 am flight put me in Albany at 1:27 pm and with a 60 mile drive to the studio and about 3 hours of sleep, I couldn’t drink enough caffeine
or drive fast enough. I dumped all my stuff at the hotel on the way, grabbed some vinyl I’d brought to have signed, just in case, and headed off to Applehead.
I parked in the field out in front of the studio and was greeted by Jeff. I explained everything and Jeff got me right in and set me up with a VIP bracelet and ushered into the control room where my brain caught fire. I was finally seeing Rich, Marc, Sven, Eddie, from the old days with the addition of Joe Magistro, Nico Bereciartua, Matt Slocum, Daniella Cotton, and Adrien Reju. This was amazing.
On the first break, I wandered the grounds and started chatting with Eddie Harsch. I asked him about his time with Muddy Waters and he told me that he had once bought the legendary blues man a bowl of Clam Chowder because he felt Muddy wasn’t eating enough. He said he didn’t have any idea why he did it but it seemed like the right thing to do at the time.
He graciously signed my copy of Southern Harmony and Musical Companion and laughed because while he played on the album, he wasn’t on the cover. He said that he was in the trunk of one of the vehicles in the background. I laughed and told him I appreciated all the music he made over the years and that I wouldn’t take up too much of his time while others were waiting to talk to him. He said his signature “alright then” and moved on. Eddie passed 76 days later on November 4, 2016 and I’ll be forever grateful that I was able to see him work his craft in person.
Marc was also out and I hopped in line in front of an amazing couple, Erin and CJ. Erin White took the pictures you see here and you can see that she captured the joy of it all. Erin and CJ have since become great friends and we keep in touch weekly on various social media.
I told Marc 
I contributed to his kickstarter for the new album, The Vulture, and was anxious to hear it. Marc was extremely humble and appreciative of the support and also happy to sign a couple autographs.
Sunday kicked off with more fantastic performances and an amazing Q & A with Andy Aledort. He led Rich and Marc through a very organic chat about everything I was curious about as a fan. It likely could have taken an extra 4-5 hours to get everything out that he wanted but the recording needed to continue and he retired back to the control room where I was hanging out.
It was somewhat empty in the control room and Andy was conversing with Michael about the guitar you see in the picture. When there was a break in their conversation, I thanked Andy for the questions he asked and told him I really enjoyed where it went. We talked guitars for a bit and I asked for a picture. He graciously obliged.
Appleheads Woodstock sessions do a great job of offering a one of a kind experience and one of those perks was a T Shirt that would end up getting me my favorite experience from the entire weekend. I ended up with the wrong size and Michael said to hang out and he’d get me the right one after the session was finished. Once the last notes rang out and all the guys retired to the back room, Michael waived me to follow him while he looked for it.
Finally, I had an opportunity to get Rich’s attention and ask him to sign a piece of vinyl and get a picture. He said of course and when I asked if I could get Marc in as well he said “Ask Marc if he’s ok with it”. Marc said sure and stepped over to where Rich and I were. Nico was standing there and took my phone and said that he’d take the picture for me. If I’d been one cloud under cloud 9, I’d have taken a picture with Nico as well but I wasn’t thinking clearly. (Next time I won’t miss my opportunity)
I don’t often get “star struck” but, these 2 gentleman have been the bedrock of the last 28 years of my musical evolution. These guys defined what guitar playing was for me in the same way that Duane Allmanand Dickey Betts, Keith Richards and Mick Taylor, or Flatt and Scruggs do, but I grew up with their playing and then had the opportunity to meet these guys and see them work in person. An amazing experience I’ll never forget.
