Brian Eno and Robert Fripp's foray into some artful excursions into some ethereal electric experiments. There was a lot curious activities emerging in London, Amsterdam, and Berlin back then developing some fiercely fuzzy of synth-like effects way outside the norm which really blew the lid off things.
ZZ Top did get a chance to play with Lightnin' Hopkins and Jimmy Reed, there's still that one, single song we just can't shake... J.B. Hutto's "Combination Boogie".
I probably owe as much to Jeff Beck as I do to Son House with connections to the blues.
One springs to mind: one of our very first gigs in a small East Texas town was not well promoted. At least, that was our conclusion. After the band loaded in and the curtain opened, we realized there was exactly one paying customer in the audience. We kind of made the best of it playing through the first set, took a break and bought him a Coke and then went on to perform for the remainder of the night. It wasn't exactly a catastrophe but it certainly stands as legendary.
Lightnin' Hopkins was something of a fixture on the Houston coffee house scene so we were witness to eccentric blues brilliance close up. Then, believe it or not, along came the wave of the English cats like John Mayall, Eric Clapton and the Stones embracing the great American art form - the blues.
When I was around 7 or 8 my Dad took me to a B.B. King recording session, well, that really did it. Huge and lasting impressions. After all that I pretty much knew playing guitar was something I was going to do because I just had to do it. And I did.
My mom took my sister and me to see Elvis [Presley] in concert when was, maybe 5 or 6, and I liked everything about it.
Most of the reggae awareness is still among music industry people and people who are already into all types of music.
It doesn't take much to be good, but it takes a lot to be real good.
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