Of course, it helps that he possesses a silky smooth voice, good looks and the ability to compose memorable tunes. An enormously gifted guitarist with equal facility soloing or accompanying, he has chosen to not only bend his chops to fit the song but has shunned the “blues guitar hero” label to pursue his personal vision of classy soul, R&B music, rock and pop music. Twenty (Sanctuary), his 14th record, is yet another fine addition to his unique catalog, containing his usual wise observations on love, along with quitting cigarettes and even the war in Iraq as addressed in the title track.
Your music requires paying attention. It is not all about instant gratification
Yes, I guess it’s music for “our” generation. (Laughs) I like a story going on and a little bit more.
The blues “I’m Walkin’” is more instantly gratifying, however, and sounds like a nod to Johnny “Guitar” Watson
Chris Hayes, who used to play with Huey Lewis and the News, and his brother Kevin Hayes (Cray band drummer – Ed) brought the music in without lyrics. All the time we were working on it in the studio I kept thinking, “Where is this song going,” and then I finally realized, “This is Johnny ‘Guitar’ Watson.” When I finally got the lyrics, I went, “Sure enough, there it is.”
Your solo is killer
Thanks, man. I played through an old, tan Fender Deluxe and it was boss.
You are not especially a vintage gear guy, are you?
Not really, but I have the Magnetone on a couple of songs, that I’m getting ready to go get a few new tubes for (Laughs), and I took a couple of my old Fender Super Reverbs in there. But yeah, in the studio there’s a place for it. Live, it’s a whole different thing, because the amps aren’t that road-worthy any more.
Though you play a Strat, the most popular electric guitar, you have managed to develop a signature tone
I’ve had a little thing from years ago, when I first started playing, where I got the idea of approach and it was through B.B. King. You take the subtlety of what he does and the importance of trying to make every note sound good. I’ve always been drawn to players who do that. Though tons of people play on Stratocasters, it depends on one’s approach to the feel of the strings. You know, two people sitting side by side playing exactly the same guitars, same gauge of strings, same pickups wound exactly the same, and it still depends on one’s touch.
Likewise, at this point you have your own distinctive style of soul guitar
I think that’s everyone’s goal, to have their own sound and approach. A lot of that comes from a combination of all the different kinds of music we’ve always played over the years lends itself to what we’re doing these days. Back in the early days, the bar band days, with the first Robert Cray Band, we played over 200 dates a year, three sets a night, for like 15 years. All that stuff helped in creating a sound. It’s different now. Kids these days get together for a few months and if the band doesn’t work, they go someplace else. Also, I think the most important thing is writing the material and having the guts, or stupidity, one or the other (Laughs), to do that. Because, I think for a lot of people, and we still do this ourselves, it’s like, is this song going to work? Up until the last minute and singing the lyric, you’re trying to make sure it makes sense to others besides yourself. It’s a high compliment when someone says you’ve got your own thing. That’s really cool.
What does Twenty refer to?
It’s the age of the young man when he dies in Iraq.
There seems to be references to other songs on the album. For example, “My Last Regret,” about giving up smoking, sounds a little like “The Last Time (I Get Burned Like This)” from False Accusations (1985), even though Jim Pugh wrote the former and you wrote the latter
I don’t know if Jim was thinking that or what. (Laughs) I never got it.
How about “Two Steps From The End” being related to Bobby Bland’s “Two Steps From The Blues”?
Yeah, I was thinking that, too, when it came about. It also gave me the chance to do that Wayne Bennett (Bobby Bland’s late guitarist – Ed) thing of the triplets on the single string. I had the opportunity to meet him once or twice, but it’s too bad he didn’t get the recognition he deserved. He was bitter and upset that so little was going on in his career even though he had been an inspiration to so many people, like George Benson. When you think of how popular Bobby’s version of “Stormy Monday” (1961 – Ed) was, and how many bands still play it today…
You were very close to the late John Lee Hooker
Yes, he was a good friend and a funny guy (Laughs). He was just happy to be here. It was great doing shows with him and sitting in. Every once in a while he would call me on the phone and say (Does pitch-perfect imitation of Hooker’s voice), “I just called to see how you’re doin’. You alright? You know, I love you, Robert.” “I love you, too, John.” He loved people and they loved him, the women loved him; all the young girls, they wanted to be around “Papa John.” You know, you would go in the studio with him and it was “one take John.” (Laughs) Whoever was producing him had the challenge of, “John, let’s do another one,” and he would go (Imitates Hooker again), “Oh, that one, what’s the matter with that one?”
How early on did you play with him?
The Robert Cray Band backed him at a university in Montana in the early 1980s. We had never met him before. We did our set and then he came out and just started playing and we were going, “Okay…what key?” And then, “How many bars is it going to be before the next turnaround?” So we were at “school,” and we had been to “school” before backing up Albert Collins in the mid-70s, but nothing like that where somebody is going to do 13 bars this time and then 11 bars the next time. So we were “all ears” and it was great. Then in 1984 or 1985 after our second record, Bad Influence, I went with John to Japan for my first trip there. He had the Coast to Coast Blues Band at that time and they backed me up. I would do my set and then he would come out. We played these small places and people would show up with stacks of albums for him to sign. For his encore he would do the “boogie” and that’s when these Japanese kids, who were quite reserved before that, would get up and rush the stage, tugging at his pant leg. Larry, the bassist, would lay on his back and while still playing, try to kick the kids off John. It was incredible.
How has the changing music industry affected you?
It’s rough for everybody, including us. We’re still fortunate enough to be making records, but it’s hard, like it is for everybody else, to get something played. Everything’s locked up tighter than a drum. But the thing is, it’s always been that the blues and related music has never really gotten that much airplay, and you have to go out and find it. But the people who want to hear it are still out there. We’re doing it because we love playing the music so.
After all this time do you ever have trouble getting up for a show?
No, that doesn’t happen. What gets me up is having a good meal before going to work. (Laughs) These days, you’re on the road in a different town, you go out, you try to remember where you ate last time and you go out foraging. You feel good and it makes your day.
That sounds like good practical advice
Yeah, you have a good meal, have a nice walk around the town you’re in, take in the sights – but the best part of your day is getting onstage.
ROBERT CRAY GEAR
Guitars: Fender Robert Cray Signature Stratocaster, Troussart Stainless Tele, Custom Shop Fender sitar
Strings: D’Addario .011-.046
Amps: Matchless Clubman w/ 2 4X10 cabs, Fender Vibro-King
Effects: Vibroman 1.0, Peavey Valve Verb
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