That came after my pop career was over when I realized that I was never going to have a pop career.
Curtain call song 2015 how to#
I learned most about how to play in that cover band-just a top 40 cover band playing dances. Mo’: I took French horn in junior high and high school, but in high school I got in a band and I was the rhythm guitar player. Ravi: Did you take any lessons beyond those four? I was in a steel band playing steel drums, so I was jumping from instrument to instrument, trying to find myself. The guitar was something I did, but I was always wondering what instrument to play. I really was playing the conga drum and fancied myself as a percussionist. I took conga and guitar lessons there-about four on guitar and two on conga. I never bought anything there other than strings and picks, but the place inspired me. They had music lessons there so music teachers would come in and teach. I don’t think they had any Fenders or anything like that. They had the Ventura line and Harmony Guitars. They had this little music store, and they had instruments, but everything was sold at retail and the prices were high. There was a store in Compton (South Los Angeles): Compton Music Center run by the Blaylocks, a father and son. Mo’: Oh, I didn’t see a music store for a good while. Ravi: So, when was your first experience in a music store? My first one was bought in 1963 and the second was probably around 1968. What’s interesting is that if you look at the price, they cost about the same as they did then, considering inflation. Mo’: Yeah, I have one of the Silvertones out on the gig. Ravi: Do you use them professionally? How much did they cost? When I played them, I guess the sound was just very familiar. Ravi: Did you just buy them for nostalgic reasons? One I just got last year and the other I have had for about four years I found one in Santa Monica at True Tone Music and the other in Chicago at a store called Midwest Buy and Sell. I actually found them in different stores many years later. In fact, I have both of them-the first and the second one-but not the actual ones that I had.
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It’s not a replica, but it is one from the same line. It was an electric-a two pick-up job with a whammy bar. So, my second guitar cost $50 a pawn shop guitar from Sears. The Fenders were always way out of my reach, but Silvertones and Kay Guitars were in my realm of financial possibility. I don’t know what it was, but it was a very “cost effective” guitar. Mo’: I got my second guitar at a pawn shop-another Silvertone. Mo’: I took three or four after that, but mostly I learned from my friend Stanley. Ravi: Did you take any more lessons once you had your own guitar? I was just 11 and couldn’t get a job, so I had to beg for one. I was able to use my uncle’s guitar during that time, but he lived in Northern California and I lived in Southern California, so when I got home, I needed a guitar. I hollered at my father to buy it for me so he did, but only after I had gotten two weeks of guitar lessons from my Uncle Herman, Herman Wyatt. Keb’ Mo’: It was from Sears and Roebuck-a Silvertone that cost $25. Ravi on behalf of The Music & Sound Retailer: Tell me about your first guitar? Prior to the evening’s escapade, we sat in his living room and talked. His son was performing at one club, and later Kevin graciously accepted to play a spontaneous set for a small but appreciative audience next door at the legendary Babes and Ricky’s Inn. This year, the three of us went to dinner and then on a trip through “the hood” of East L.A. Three years ago, we started a “post NAMM hang” tradition. We have maintained that status ever since, developing a genuine friendship that goes well beyond our common interests as musicians. Being the warm and gracious gentleman he is, he instantly welcomed me into his life like an old friend.
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Kevin and I first met five years ago, but my wife has known him twice as long from when she worked for the Nice Jazz Festival in France where he performed.
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His ability to captivate broad audiences has earned him multiple Grammy awards and a reputation as the ultimate contemporary blues artist. As Keb’ Mo,’ he masterfully intertwines the spirit of the blues with the contemporary singer-songwriter movement. Clair Fredericks), Kevin Moore adopted a stage name early on in his career, embracing his African-American heritage and the phonetic spelling of his given name. In the tradition of “bluesmen” before him, including Muddy Waters (McKinley Morganfield) and Taj Mahal (Henry St. First Published In The Music & Sound Retailer’s April 2007 Issue