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John Mayall and the Bluesbreakers served as a rite of passage for guitar players who would go on to be a part of other major bands. Eric Clapton was one of those legendary members who passed through the band. Joe Bonamassa and Wayne Federman join this week’s episode, discuss “Blues Breakers with Eric Clapton, " and geek out over guitars.
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J.A. and been walking us down through that 2012 edition so it ain't nothing to you. Hundreds more to go in and need of a friend. The King of Peace for me. Oh and you'll all talk in the 500 until the end. Talk in the 500 until the end with my man J.A. and on the 500. Talk in the 500 until the end. The song is double crossing time we're going to talk a lot about this today because we're listening to John Mayall in The Blues Breakers 1966 is it a compilation let's call it blues breakers was a blue balls blues breakers with Eric Claptom a.k.a. the Bino album it's number 195 out of 500 and the 500 with Josh Adam Myers I am the man with the plan and I am a comedian that is counting down Rolling Stone magazine's list of the 500 greatest albums I'm experiencing that's the whole thing man is that I'm fucking I got Morty in my fucking corner being like dude this is what is the fuck up with Lou Reed and Valver underground and then we talk about it for three hours and then Adam gives me a bunch of notes and then I go in and then hopefully the guest knows a bunch of shit and today which I'll get to I don't have to do anything it was a cream dream for me it definitely for Fetty Wop but we'll get to that what do we got to announce first have you been watching the podcast I don't know if anybody does but we have a YouTube page and it's the YouTube back YouTube.com backslash the 500 podcasts we drop episodes every Thursday share little clips whatever you could do if you're if you're a part of this show and you love it I know when I meet you guys out on the road and you're like god it's don't stop don't stop but go okay cool well like help like and it's not help like you got to give us money join the patreon if you really do fuck with this shit if you like watching every week and you've been in since the jump and you don't subscribe to the patreon to help the show that's on you man that's rude because we don't have many odds at least I don't know I'm not reading many so whatever money we get is with money we get from you guys I'm doing this out of pure love pure love of the game because so many of you said you need it especially you Fletch Fletch 3 Marky Mark Ooh and Mike Mike out in San Fran next episode the Lou Reed Velvet no not Lou Reed Velvet Underground the Lou Reed record you're getting shout outs bro you are getting some shout outels I was trying to think of like a isle language support the show that's the basic idea of what we're trying to say watch full episodes every Thursday and sign up for the patreon for $5 you can get merch and for $25 you get the 25 does get merch $5 you ask questions it's awesome patreon.com backslash the 500 podcast support us alright this weekend ladies and gentlemen I am going to be in Calgary I will be at the laughing stop in Cal Gary with my fucking boy on guitar Eric who supports the show who is a true rock star is flying in from Vancouver to play with me all weekend so we are really gonna have a good time so please come out September 12th of the 14th laughing stop in Calgary 15th of the 60s I'll be at LA that's this Sunday and Monday we're doing the jam on Sunday shimmy on on Monday September 19th I am at a at some bar Matt Mahaffes in Long Island September 21st point Pleasant New Jersey I'll be at Uncle Vinny September 27th of the 29th I'll be in Las Vegas at Skankfest and then we have got San Diego we have Edmonton we have Arizona Minnesota Vegas again we've got a bunch of shit coming up and my Asians on it so we're gonna be getting out and I think in 2025 I'll be doing some stuff hopefully with Jelly again because he mentioned it but you know he said a lot of shit before but can't get mad at him because the dude fucking changed my life and God bless his soul I only talk to God when I'm a hunk of doodle I love you Jelly alright what are we doing God bless us oh yeah alright so this week man was a music oh wait get all tickets Josh out of Myers dot com go to punch up dot live backslash Josh out of Myers too and follow me on all social media Josh Adam Myers for updates okay so this week it was a it was a wild week of music for me so Pearl Jam two nights at Madison Square Garden last Tuesday and Wednesday Tuesday was good Wednesday was the shit Thursday clutch rival sons Fu man shoe if you don't know clutch they're a Maryland band they actually went to my high school I don't know them but my buddy owns not only runs the Brooklyn Paramount so I got tickets and and man it was just a phenomenal show clutches like we're as like we're as like we're as like who are we talking about me and Big J we're as like god damn it it's like I want to say because it's everything is like oh yeah Rob zombies all cars and like demons like Bella Lugosi driving a Chevrolet titties titties titties Rob zombie like clutches is all mythical creatures mythical it's very Lord of the Rings and cars so it's like Gandalf lying on a fucking carburetor do sky or whatever great band then me and speaking to Rob zombie me and Jay and Christine and Justin went to go see Rob zombie and Alice Cooper we took mushrooms everybody looked like long legs I almost freaked out but luckily Jay brought me down man we had such a great time Sherry moon zombie Rob's Rob zombies wife waved at me probably because I was staring at her because I was tripping so hard and she was my totem and then on Monday I flew out and flew out I drove down to Philly and I went to see Pearl Jam again and let me tell you something like I'm not a huge Pearl Jam fan in the sense that like you know they're one of my favorite bands but but goddamn do I love their shows and I love that I love any artist that that basically changes their set list every night and you never know what they're gonna get and Philly Saturday night they played like brain of Jay and Last Exit which are two songs that I would have died of her and then on Monday not the best show but I text my buddy Greg Chate who is like my my brother and you know we talk music all the time I've known this guy since I was like three years old he we talk we bring up Greg a lot I think yeah you guys should know Greg at this point the moral of the story is I say there's like man I was like I really hope they play animal and then I text him yeah do this set list isn't that good and then they fucking played animal was it a one two three four wah wah wah wah wah wah wah wah wah wah wah wah wah wah wah they did that they did rats it was amazing was worth the drive down just for those two songs and then off tonight doing shows which is Tuesday and then Wednesday night the day this comes out I'm going to see Weezer with Dinosaur Jr. in the flaming lips so it's a music week we do it man go see live shows if they come to your town don't wait go see the artists that you love because they might not be around or God only knows good a fentanyl or fucking proffinol or who fucking knows so go to shows baby go to shows and and keep supporting the podcast and on that note let's talk about today's episode the bino John May all in the blues breakers Eric Clapton this is what what I've been told by our guest is this is where Eric Clapton becomes Eric Clapton is God and man oh man of Shevitz did I get it my two guests are the two people that really brought it to me returning for his twelfth time one of my I love him so much Wayne Federman I love him I love him I love him and then to really sprinkle in the goodness we got a blues guitar legend to come back Joe Bonamasa who I'm gonna do the jam with this guy is the coolest he is so much fun he can come back for any blues artist and you know Wayne's got the Mel Brooks documentary coming out next year Joe was gonna be live at the Hollywood Bowl Orchestra is out now on just about every format because said in VHS I don't know who wrote that but that's pretty funny so yeah man this was a cream dream for Wayne and a cream dream for me because I didn't have to do anything just listen to these two greats talk about it Wayne those blues Joe is the blues boom boom boom to doom scoom bloom and you got a good episode all right rate review and most importantly subscribe to the 500 and listen free on all platforms or anywhere you get your pods leave a five star rating and leave us a review it helps follow me and Josh Adam Myers on all social media follow the podcast at the 500 podcast email the podcast at 500 podcast at gmail.com follow the Facebook group run by crazy heaven and for all things 500 go to the website the 500 podcast dot com all right y'all Eric Clapton with John May all in the blues breakers it's to be no and one nine to five Joe meet Wayne Federman Federman meet Joe first of all can you hear me okay we got you I sound I sound good to me Joe is he good to you absolutely so I've actually I've actually met Joe before he's not gonna remember because he was in the middle of doing a show but it was set on Santa Monica Boulevard and we were doing a show with them you were doing a show with the lead guitarist of ZZ top the troubadour month yeah the troubadour yeah I met you backstage there a lot of people were crowding around you at the time so it was nice to see you again yeah that's the the annual Billy Gibbons birthday bash at the troubadour so I love that I said this before is that you know Billy Gibbons came on the podcast before to do actually eliminating so what like ZZ top is most popular record and we do the thing and he's just the nicest guy and at the end of the podcast I go Billy thank you so much for coming on and he goes oh man that was a gas and I go that was the coolest anybody's ever said a gas up just melted my heart you know is all of those it's it's it's it's it's all him you know I remember pulling up to crossroads the Air Claptons guitar festival in 2010 and in the backstage there's these like Salvador Dali you know impressionist four by 12 cabinets and I just go it's got to be Gibbons and there they were they were there you know it's like it all comes out of his mind you know and and he's the most cool eccentric cat I've ever met and he's still that guy and he still pushes the boundaries and if you sit down and talk to him about the blues he will school I mean he and music I mean he will school he knows all the deep stuff and and knows what to listen to and it's like that's a musicologist in a very very intelligent humor and and and obviously has everybody's respect but but but I was like wow this guy's serious cat so so here's what's funny it did to be a good starting off point of why you know so Wayne is probably my most you've been on it how many times like 14 any ten ten all right well then I thought I added more than ten it's more than yes but anytime there's a record that we're like who do we get and we search and and we can never eat but he because Wayne knows he knows rock and roll he knows blues and so originally before we had you Joe it was going to be Wayne I threw it to him and then Emily got in touch with you and I was like well we got a fucking Joe and then and then we're like let's get Wayne on here too and because here's the deal and I this is the perfect starting off point and call me call me an idiot call me someone that doesn't know that much about blues I had never heard of John Mayall and the blues breakers before I had no idea that Eric Clapton played with this guy of course I know it clapped him he's you know clapton is God we've gone over him so many times on this wreck on the podcast whether it be cream whether it be you know mainline Florida and and all the different stuff that we've gone through so so this is like really my first experience digging in to John Mayall and I said what a better way than to have a real blues legend and then a blues theologist if comedian the Ot was the ologist the right word kind of I don't know if I'm a theologist but I do love that era of music as you know I'm a guitar hero guys so this is where it all came out of and yeah and up just thrilled to ask Joe a million questions because he knows the album inside it out I've heard him play hideaway I've heard him play it well honestly you know when you talk about John Mayall and the blues breakers you know if you're in a conversation at the Chateau Marmont and you're talking to your you know peers and girls that you want to impress you like and you're like oh you're into the blues the first thing you should say is oh I got into you know Lead Belly and Sun House and and Robert Johnson which I actually share a birthday with Robert Johnson base that's what you should say if you're a suburban white kid in your 40s guess how you got introduced to the blues but John Mayall and the blues breakers are air clapped and and that's it you go to London before you go to Chicago and and that's really what encapsulates that record and those three records that he made with with with Clapton Peter Green and McTaylor it's like everybody every suburban white kid learn how to play a blues from the bino album I mean it's like the peanut that was standard ops you know it's this record to this record is massive then this is this is a landmark blues record in the scope of everything please take me guys take me there because I know nothing I can read my shit or I could listen to two guys that I respect more than anything well let me ask Joe a couple questions because again that record wasn't huge in the United States as a seller or anything but it was just huge for blues aficionados is that correct I think it you know I mean was it is it certified diamond probably not right but I know I I don't know anybody in my circle of friends doesn't have it and you know when you do the deep dive on Clapton you eventually get there you know right and my dad played that record for me when I was a kid because I really loved 461 ocean Boulevard I loved like the like the kind of Marcy Levy era Clapton when he was trying to be Don Williams and and further on up the road and stuff like that you know and you know his cover of Bobby Bland and he's like by the way I'll be blue bland is that now Josh knows about him oh yeah yeah yeah we did it we did it we did never heard of it which Wayne came on and did did I'm telling you any time because like actually our producer wrote like the youth this is your 12th appearance random facts about the number 12 12 men have walked to the moon a group of 12 things is called a dodicane besides it doesn't an under British law you can legally buy a pet at the age of 12 so there's a lot of good things and then yeah this would I mean I don't know this is what Adam got me so so is this so what era of Clapton is this because it just feels like you know I don't know like where in his career does he somehow this is what 66 like where is he is this is this pre cream after cream like it's pre right yes okay it's pre cream but what's interesting to me is he had left the yard birds because that band was too poppy and then he kind of floated around a little and you know John mail just died and did you see the little video that Eric put up about John online do yeah I saw it it was really really really touching and you know a couple of things I interviewed John when I was doing my podcast when when when all all all guitar players during the pandemic had become content creators I'm like fuck this shit I'm out I don't really have to the noise right so they're like why don't you do live from your door anymore I'm like I am not a broadcaster okay I played one on TV just to quote state relevant and and I interviewed John one of the coolest interviews that I did was John mail and I asked him I said I said you know why how did you manage the band and he goes yeah I couldn't keep a guitar player clapton would come in and out you know and he drew the biggest crowd because he was member of the yard birds so when John had clapton in the band in 66 you know and playing Hampstead he would draw a bigger crowd than Peter Green you know and then Peter leaves to form Fleetwood Mac and he gets McTaylor and his night in in 72 he's gone right he couldn't keep a guitar but it's poor I couldn't keep a band together and but he had such an eye for talent and and and those three guitar players Peter Mick and and Eric Clapton really all at that time kind of sounded similar you know Clapton kind of paved the way for for that Les Paul through a Marshall cranked blues rock thing that we all chased to this day and you know John was the band leader he had the best record collection he had you know he lived here in Laurel Canyon and was really older than all those guys right he was like right ten years yeah yeah and he was like the him and Alexis corner and Graham Bond those were like the three pioneers of British blues they just dug it and then the kids dug it because they're they never heard anything they never heard of Holland Wolf until the Stones brought him right you know and so very few people were into the blues in the UK and then the movement started and John was right in the middle of all and and can I ask you this because I just think it's always fascinating and Josh if I spoke about it that that maybe the way this people on earth the English like embrace this Chicago blues black music that came up from you know the Delta yeah why do you think that was Joe like that well the thing is I think the better question is why why why didn't we embrace it okay why did the English embrace it and and we don't and I can answer this because I experienced this mm-hmm people from other countries tend to have blinders on to the cultural you know contributions of their own they take it for granted yeah when I went to the UK first 25 years ago okay I immediately drew a crowd because I was American playing British blues now there was a whole crop of people in the UK that were just as good playing British blues couldn't draw a crowd I come over as the you know you know the Boston tea party of blues guitar players and and and next thing you know I play the Royal Albert Hall conversely in the 60s Albert King was making records BB King was making records Helen Wolf was making money all everybody son house was the room you know and and everybody just was like through a blind eye next thing you know the stones come over and they're playing how Wilson and and naming their band after a muddy water song and then the kids come out going this music's revolutionary like it's been here although it's been hiding in plain sight I got you I get cultural people culturally you know and it was it was also a very tough time civil rights you know you know for for America and and sometimes people just throw a blind eye to it and you're like hey man it's been here all along you know and then the hippies you know in the late 60s I embrace BB King in Albert and next thing you know they're drawing the big biggest crowds of their their careers because everybody just woke up and and right BB always thank Eric for for for getting you know letting letting him but you know for for for for putting some I don't know notoriety to the blues in America because it helped them helped everybody did you ask John at all about when Eric lived in the attic and we go through the record collections and just practice all day like that I'm fascinated by that he mentioned yeah he did he mentioned and and and that was like again everybody has a to quote John Mayor everybody has a host and and and and my father was the host he was like check this record out check this record out the next yeah yeah your hooked your hooked you can't you can't get it out of your head it's all you want to do get home from school throw the book bag in the closet and and and put on Robert Cray records or clap in records you know and right once once you get hooked and the seed is planted it's hard it's really really hard to get and just for those who don't know this album don't how is this different than let's say those yard birds records that Josh yeah I talked about it a little bit how was how was Eric different on this than he was on five-yard live yard you know those ones spite everything about that what is he mad or why is it like he's like he's like fuck the yard birds type shit is that you're saying we got out of the yard birds with a chip on a show when you listen when you hit when right off the bat all your love track one that that is a guitar player on fire with something to prove and he wanted to play blues and he was inspired and never discount spite as a is a great motivator you know I always thought that was an interesting track to lead off that album considering for your love which is almost the same exact was the song that he'd left the yard birds over right correct for your love and then obviously all your love is oh just rush yeah yeah blue you know and then and then how do you say that's the premiere solo on that record no the best one is double crossing them that's that's that that is unbelievable I mean stepping out right you know hideaway little girl I mean that's that solo one little girl it's like yeah yeah yeah he's killing by the way I mean yeah I want 59 less Paul's and they pay hundreds of thousands of dollars for this this is the record that started that because the sound of the guitar is this is on their plate yeah yeah yeah yeah what are you about to say way me no I was just saying this is the arrow when those signs those graffiti around London started saying clapton is God we're yeah that's how crazy people were for what Eric Clapton was doing is that correct Joe yeah that was he was the man and you know he was the number one guitar player in the UK because of the yard birds obviously and you know closely filed by Jeff Beck and Pete Townsend and then this guy Chad Chandler brings this kid over from Seattle and and and fuck some all up and you know James Marshall Hendrix shows up and and and makes everybody feel very small and which brings us back to Billy Gibbons because didn't Gibbons play a little with Hendrix or jam yeah yeah he did the moving sidewalks yeah yeah and you know that there's that great photo of Billy with with Jimmy Jimmy's playing Billy Strat and that's like all right pretty pretty epic stuff you know so so so my question is alright so so so Eric leaves the yard birds how does he what is where is so how who is John like and how does John is like how did they he decided to start working with this guy and is this the first John this isn't the first John Mayall record because I see John Mayall plays John Mayall in 65 and I don't know is there and I think that was the first one and then it's blues breakers and by the way after he did that album John plays John he lost his recording truck contract like people were not buying that album at all and then when he signs Eric Clapton deck I was like let's let's let's get these guys like that's how powerful that Eric was what 20 at this time 21 yeah I came with just a 22 yeah yeah just a phenom at that time so that's how they got that record if I'm not mistaken that's uh and and Mike Vernon had a lot to do with that too Mike Vernon was a producer a pretty pretty powerful producer at the time in in the UK and you know it's just the stars aligned you know it's like it's you know I don't think there was that much forethought it was like there you want to do rambling on my mind sure you want to do hideaway sure what do you know we got we got two days sure you know and it's those are the great records to me it's like you know not the ones that that you know you know you think that um hideaway is why he wanted to use a less Paul because that's on the cover of Freddy's album yeah Freddy used a less Paul right he's a gold top and then he went to the 345 and then all these were the 355 this is what I'm talking about so a little sidebar it was like in 2015 I did a I did a tour called the the three kings and we did Freddy BB and Albert right great to the point of which probably why I'm not married and and have problems in with relationships with women is what I did was on the cover of that album you could see Freddy has two knobs missing so I had the 54 gold top and I took the two knobs off to look like Freddy's guitar to the to the other thing is we lined up the little pointers that go under the knobs the same way that was on the record only I noticed that's how that's but the less Paul when it comes to Clapton is probably because of of Freddy and and those those 59 less Pauls those sunburst less Pauls were not readily available there's maybe two or three in the country Keith Richards had the first one and the word got out that they sounded good Peter Green had one and there's only like you know half a dozen in the country and they all went to the pros and that sounded through the Marshall it didn't sound like Freddy King it sounded the blues break right and did Freddy Queen use a box amplifier just I know we're deep diving well like Leon Russell era Freddy he used a quad which is basically a 412 twin you can see him on in the early 60s he's playing through anything that that's there you know and I got probably use some sort of fender amp or whatever whatever is available well Josh this is a crazy thing about the less Paul was again all the top guys were using them in the late 50s and if I'm not mistaken they were selling so few of those guitars that they canceled production of them is that right for a number of years Wow 1960 to 1968 um the 59 less Paul the once 1960 rolled around Gibson said to less like this thing is not selling anymore they tried to put sunburst finishes flame tops try to get people to buy them and less his star had kind of he wasn't as big as his biggest star as he was in the early 50s they were selling less and less so they they made this double cutaway that kind of looked like a Stratocaster called the solid guitar and it's the acronym is SG and they were originally in 1960 61 62 were called less Paul standards and customs and they look like SG's once less bailed in 63 then they become the solid guitar and then in 68 they reissued the gold top which was stupid because everybody wanted a sunburst one they should have just started making sunburst once again and and a less Paul custom with a maple top not an all mahogany body like they made in the 50s see why I don't get laid fellas this is working out there that's digging on shit and then you know and then and then the rest is history but by 1972 a 59 less Paul standard was they were trading for around 750 to a thousand dollars given the fact that they were 269 brand new everybody's going a thousand bucks by 1980 they were four thousand dollars top of the he by 1990 they were 25,000 30,000 by 2000 they were over 150 and now if you got a real nice one you can put a four in the first number it's a fucking house wow let me ask you another question because this album it's called the bino album because that's the name of the comic strip that eric is reading in a very dismissive way on the cover that that the blues breakers album um Joe is this the first time a less Paul is plugged into a martial amp and tell us a little about I always thought it's interesting that less balls were American made marshals were English made that it was an incredible like convergence that created this this sound well Jim Marshall had a music store and he was building amplifiers in London in London and and I don't know exactly what neighborhood in London is so vast but the the comment section will correct me if I'm wrong um they he had a music store and he befriended a guy named P Townsend and he was built he was a drummer but he knew how to build amps and his first amp 1962 the the Jim JTM 45 which stood for Jim and Terry Marshall 45 watt and it's basically a 410 late 50s fender basement with English parts and 212 and then he had the idea of putting everybody wanted louder louder so you're like let's put let's make a cabinet that's 412 and in certain really rare examples 812s and they would stick the head on and then they would turn it all the way up and then it distorted and whatever and then he P Townsend asked him in like 65 for a louder amp so he made the the the JTM 100 and which was uh the just basically a high powered tweet win with English tubes and parts and they had a unique sound and when you again it was probably just because of availability it was like of the party dance and I got this last ball let's plug it in and we're gonna put a mic in front and that's it and the the legends born and then everybody changes it for you know 60 years hey everybody so you guys have probably heard me talk about how I've been in bands my whole life I love writing songs and performing in front of crowds just like with comedy as a musician it can be kind of hard to cut through the noise and really stand out as an artist I feel like half the music projects I've been in have ended just because we couldn't figure out the answer to that eternal question of how do we get people to hear us but then again that was before there was Distro Kid Distro Kid is a digital music distribution service that brings your sound to the masses it's a one-stop shop for getting your songs on iTunes, Spotify, Apple music, YouTube music, Amazon, Deezer, title and many more what's these I never even heard a Deezer how many of them are there I know all that that's like the holy grail of streaming services though and and getting paid they want to we want to get you paid for your music that's huge because a lot of bands go broke before they get big but Distro Kid collects earnings and payments and sends 100% of these earnings to artists minus banking fees and applicable taxes and that's just one of the tons of benefits of using Distro Kid you can send big files to anyone with their instant share feature you can use the hyper follow feature to promote your release and get pre-saves on your song you can even create personal landing pages for yourself your band your brand and whatever you like it has a free Spotify canvas generator too to generate your own Spotify canvas for your songs and the mixtape feature instantly masters your tracks for higher quality audio so if you're ready to bring your band to the next level it's time to check out Distro Kid the Distro Kid app is 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he needed a sea change right right right you know i mean he's still playing he played explorers he had a couple of karina explorers in the 70s he he had the uh he had the Les Paul custom that he would that he used with the Delaney and Bonnie and friends um but generally by 1975 it was the strap right and you know derrick and the dominoes and the first clapton solo album would let it rain it was like oh i'm gonna i'm gonna go from using big marshal stacks to the smallest amps i can find which is like Princeton's fender Princeton's in chance yeah and that's when tom dow got involved and remember we jotch we talked about tom dowed oh yeah with the manhattan project columbia yeah yeah yeah what he you know go ahead and tom told me all this when he did my first post he yeah he produced my first solo album which turned out to be his last full length album before he unfortunately passed away and of course i'm gonna ask him you know like what was the gear because he he recorded cream in 67 at the Atlantic studios you know on Broadway and he recorded you know derrick and the dominoes like criteria he goes he goes because i cream you couldn't hear the drums because they set up the stacks in the studio and poor ginger had to deal with it and you know derrick and the dominoes he had to use the preamps on the on the console because that that they were playing such low volumes and that that also creates a sound and you know i mean it was he did he did a lot i mean with you know i mean when it talked to you about mayo you know you can hear that sound develop from the bino album to fresh cream to the the live adventures at the winterland with with cream and you're like yeah that's that's pretty much uh you know direct link to that you know whether he had the sg or the or the sunburst less paul or the 335 pretty much a delineation of of what he the sound he created with with um would you think even being able to record bands at that high a volume was would be possible without what tom did in new york and what they what they were kind of figuring out i know jim age had trouble with it when he produced that the engineers who were you know at the time we're used to recording burl lives okay you know and and the london philharmonic going with these these long hair kids are crazy like absolutely crazy but when you turn it off that loud turn it down you know like this is what this is what it sounds like and they they they took a lot of that from buddy guy buddy guy was the first guy to just go all the way up and if buddy guy is also the reason we we brought this up with josh is the reason cream is a three person band correct not sure is it yeah it keeps his eric clapton saw him as like oh i can do this with three people as opposed to four with the arbor five or wherever they had and uh wow but you know i mean it's think about what we're talking about 1965 to 1970 that's five years not a long time considering that the that that next year january will be the fifth anniversary of the world shut down in the and covid doesn't seem like that long ago but all of that music that we're still talking about today was created in those five years cream the bino album jeff beck group yeah like all of the jimmy henryk shit right except for the stuff he didn't 70 okay right and he died in august of seven and i mean just just insane stuff that right i always have five years even that's a conversion to both go ahead that was converged to both talent and in my opinion technology both recording technology the exemplifiers those guitars they kept getting better every year the wrong way yeah of course the course the beetles i mean look at the beetles i mean it's like yeah they're you know and and it's like it it just will never see that again like we live in an era of of of it's it's too processed to to ever recreate what happened in london in new york and and even out here in loral canyon um you know the mom is in the papas and the in the birds and the cragney stills in that all that stuff and the jony mitchell which whose house is just over here and you know it it you're never going to see that again because we live it's i think we just it we required so much less dynamics in the music for it to be popular and right right it's it's in order to compete both in rock and in pop you have to really just just just slam it just pin it all the way to the top and put as much information in the first 30 seconds as you can and sounds like sweet judy blue eyes would not would not be now on the radio today you know it's just it's just not it'll be there would be a cult following for it but but as far as it being popular music no can i loop back to the bino album for one question yeah dude please dude wait this is do go whatever direction i'm loving this dude you guys got this as somebody who like came to eric clapton through long time long you know when cocaine and note that miami sound what was your reaction when you heard like the bino album and cream because i assume you heard those after you heard long talk yeah yeah i didn't like it i was like i'm like seven years old right yeah yeah i heard this out you know because right at that point i was you know like like all kids that were into this kind of music not many of us but all kids it was stevie ray vaugh it just come out and you need to oh i say oh wow that you know i mean and and and we're i was listening to stevie's first album and then i was listening to eric clapton it was all i was a big strat guy everything had to be stratocaster then when i heard john melon it doesn't sound like a stratocaster it doesn't sound like eric clapton at all and and then when i was about 11 or 12 i i put on the jeff beck group truth and let me know the first album right the first the first the first album after he split from the arbor it's another spied out um you can hear it i loved and and let me love you baby the second song i was like what is that and i i i i had a conversation with ken scott who engineered the record and at abby rove and i said how did you get that big fat less paul sound um i i i'm the beginning of let me love you baby because he goes jeff's amp was so loud we put it in a closet and the mic was outside the closet it was a drum link happy accent yeah yeah yeah yeah because this abby rode wasn't designed for that they designed that studio in the thirties for for orchestras and broadcast and it's like and you know once i heard jeff beck group then i was like the the the mail stuff made way more sense to me i was like well this is this part and then did you get to the yard birds is then like what was your and i got the arbards the arbards yeah you know for me train kept the role and was was my favorite song um it was a little bit brit pop for me you know as influential as it was it was a little bit brit pop and then i you know the new yard birds floored me you know a.k.a led zep led me up like i'm like i'm like bet first out you know like that is blues rock perfection you know and you're just and it's a blues album you know how many more times look out that i mean you can feel the ground shaking you know it's a perfect band you know robert and john and you know john paul jones and and jimmy at the helm producing it you know just all all at the top of the game because those guys recession guys you know robert and john were from the black country but but but john paul jones and jimmy page they were session guys the beginning of uh the the guitar riff on uh joe cockers uh have a little help get a little help from my friend yeah that's jimmy page playing right and you know herdy girdy man that's all it's all page and john paul jones and they all they knew each other and so their skill set was pretty honed in the studio because they were doing tom jones gigs for joe meek you know yeah or gold finger right yeah yeah i mean what it would i mean if you just if you did the deep dive on jimmy page's sessions that's a career itself right there you know he doesn't really advertise that too much he will talk about it in interviews but he doesn't really advertise that like he's you've heard him before zappa a lot and he also started producing before zappa and he had produced some have you heard aric claptons it's with this weird band with steve winwood on vocals the earlier version of crossroads no okay before blind faith yes oh yes yeah yeah before blind faith he did a version of crossroads with steve winwood on vocals up it doesn't matter it was just i thought i mean we're a singer to this day i mean winwood so steve winwood yeah yeah yeah yeah all of those bands couldn't last i have a funch it's aric clapton i have a hunch that's my that's my hunch well you know do you ever hear the peter green story about why they named the band fleetwood mac no oh so to keep that guy in there right yeah he told he he basically said it out loud you know bands were so fluid back and it wasn't it wasn't a big deal it's like that make a record man will be starting another band it was like everything was so fluid and people would you know jump ship he goes i want to name it fleetwood mac after the drum drummer in the bass player and because when i when i split they'll have something to fall back on in a name and it and it's split you know and that's why they named if lit would not it was because by the way gosh the fluid mac is an insane story because they were like this blues band for years multiple albums and then when they became how would you describe when they broke through uh when they was it more of a pop sensibility well buckingham nicks if you listen to that record that they did at sound city oh okay okay it's pretty much the the the sound it's pretty much the the the tablet and the structure of what would become rumors you know right and they they were just looking to get hits they wanted hits and boy they got them you know because rumors is like the farthest thing from blues that i've ever heard disabled here i knew that fluid mac had a life before that but oh huge years right yeah and then and then the the introduction of christie mcb and and and those harmonies and the soCal thing that was happening out here and you know it's it's very hard to and and the fact that they were so toxic among themselves you know writing songs about each other you know you go your own way fuck you oh that's my bandmate right there she's saying it you know do your roles yeah but it's weird that that band has its roots in john male it does it all does it and you know one of the things i've been screaming like to anybody who would listen over at the rock and roll hall of fame is can we please please pretty please sugar on top even if you have to do another like a pre telecast ceremony can we please get john male in the rock and roll hall of fame before he dies and sadly he's not going to live to see he didn't live to see the ceremony but he did live to see hear the news and and and him and alexis corner going it which which was a big surprise to me i'm like yeah without those guys the rock and roll was sent a lot different today what so so not to cut you off but what what is it about john and or like the yard birds that that help them serve as this stepping stone for the legendary guitar players what is it about the that attracted what they just trying to do the that like you said that delta blue sound or that they were just the the only people that were doing it in london or like why why is it is everybody playing with them because they were the hip kids that's right the collection everybody wanted to be in the in the in the blues breakers you know every guitar player i mean peter green i think saw an ad in melody maker john male in the blues breaker looking for guitar player and called him because he wanted to be in and he learned how to play like eric clapton just just to do the gig you know and it's it's all those you know there was such a such a movement everybody wanted their name is god painted on a wall you know yes that's how influential that music was and you know they're playing the marquee club in london you know i mean that's some of those great posters and and bills everybody was there you know and and and they would all go see each other stones would go see jimmy hendrix and the beatles would see hendrix and the the who then they would all borrow from each other going hey i like this gimmick i don't like that one let's let's do something different and friendly competition among their peers really elevated the music in those five years and john was right there he just didn't do you feel like john was upset when eric left to form cream i don't think he was i think he just was concerned i mean this is what he told me he was i just concerned getting a band together you know jesus but but he ran it to three great guitar players right off the bat he's had a better you know clapton peter green and miktale right off the bat you know and and kept him going yeah he's in it he was an issue i can't believe you got to speak to him what a it's just an legendary album obviously and it's also interesting and maybe joe you could like i felt like clapton pager and backed all they're not from london they're from someplace called surrey county like a different area so it's just interesting like that they all came from that area almost like the lennifer charting thing and you know if you look at the black country like around bermika you got the bottoms plant azia'sborn tonyaomy you know all that stuff that that's working that's a very working class industrial area right and you have to understand you can't discount the fact that it was also post-war and and a lot of the lot of london and bermim and it was pretty bombed out and it took them all twenty years twenty five years to to you know to to dig out from under the world war two so these these these 20-year-old kids are going i gotta get a better life i can't just end up in the factory so they're playing their way out of berming and they're playing their way out of surrey and they wanted they wanted it and then when you know they heard the Beatles went to new york and then you know god forbid they get their you know all the english cats as soon as they they landed in california they're like oh my god this is paradise i'm not going back you know you can't make me you know so in a way hitlers bombing of england inspired this whole generation interesting interesting well it's it's if you ever notice some of the richest rock stars tend to be cheap because post-war rationing you know i don't know you're next hundred million pounds is coming from so it's it's it's good it's good to be frugal you know all right i also like another i witness that you did elegant yeah well i'll pick i'll take i'll take the check by the way back to this album back to this album take us there they do a cover of what i say on that album right yes yeah that's the um ray charlson yeah the ray charl's hit with maybe one of the worst drum solos i've ever heard on one of the greatest guitar albums of all time what's your take on that drum solo um it was in the spirit of the song it's not all gold you know you're right right right was it azidun bar played on the it was it was it was it was it was it was it was it was it was it ain't instantly done bar played drums on the blues program now i maybe i can't think of the guy's name but i don't want to let's skip it there was there was a couple of guys mik mikki waller who played with the jeff bec group he played a lot of on a lot of stuff ansely don bar was in the mix uh yeah i think it was a yes angel yeah yeah yes that's right i think though right come on fellas time is money yeah oh i can i can i and there was no pro tools hey can i just get that drum solo again no i'll actually like my vocal and guitar solo thank you very much we're moving on yeah we're moving i'm trying to get adam to pull it up right now because i want to i want to hear how bad it is i don't remember it uh no it's just it's interesting like right in the middle of this like it crazily influential album that every guitar hero guy knew about the reason yeah is this insanely you know when this is the you know ginger bakers around at the time there's like some really good drummers so it's yeah ginger was the guy i mean he was oh yeah he was he was on another planet and well he's a jet that's the jazz rock merge right the mich mutual as well and charlotte and uh the they were jazz drummers you know he's your jazz drummers they were jazz drummers that's probably the last of the jazz rock drummers right that that crew well i mean billy cobham um you know it's it that the strat is you know like what the spectrum record is you know right jazz line right right right i mean they were talking about like fusion air which where chops were king you know you had to have props you get into dentists chambers and they wackle and you know all these insane yeah first of all joe you are your knowledge is incredible on all of this stuff i know you do the self-deprecating this the way i can't get a date and i understand all of that but it's just a little about it yeah yeah yeah okay it's awesome yeah you know you definitely know a lot and you were the one if i'm not mistaken that's there's this great legend about that guitar and that was stolen correct right you're like the main it's whenever i see an article about it they quote you why how did that happen is that wrong i don't i have never seen it so i want to start the the fire again i've never seen it i've heard rumors where it is and and and heard rumors that it's been hiding in plain sight you know it's got some you know john would have had more photos there's not many photos of the 59 or because we don't even know if it's a 59 but it looks like a 59 right there was an argument whether it was 59 or 60s wait what is the guitar just so i'm caught up of what's going on like i i i'm very interested in all is is the alleged 59 less paul that clapton had during this era that was stolen at a gig and he never got it back okay and he it's you know it's somewhere and i'm not sure even if eric would recognize it you know what i mean because it's like 60 years ago and he ended up getting um about 1960 less paul um from anti-summers aka the summer's birth and that's and then then there was a 58 that traded he traded the paul cost off for a custom and you know he had multiple sunburst less pauls in that in that time frame but everybody chases the bino guitar because there's only a handful of pictures and i actually some had read some new photos of it resurfaced of them playing the marquee or some club and you can clearly tell it's the guitar because it has a double white coil in the front and a double black coil in the back and but the fingerprint is the wood is they're all different and there's no clear pictures of what the wood is so the grain of the wood the grain of the wood yeah okay and and it appears to be a 59 plain top or it could be an early 60 which is basically the same ah very good see that would be that's it's on one right that's the stump that's the summers you can see the reflector knobs and the grovers never nerded out on guitar knobs before uh today i know a little about a lot that that's me with the period correct bino album outside of the hammer smith Apollo and that is a reissue less paul that is not an authentic one all right right isn't authentic but it's not an old guy how about the magazine is that the same the the correct issue yeah nice read that dude i'm sorry i don't know right i think i would rather question i would rather think it's like i think it's like issue like 1134 don't call me but he's gonna know circular it's the one you did you read it do you know the comics in bino at all did you know any of that i read it never heard of it i have a copy somewhere here in the you know in the files um break glass in case of emergency um but uh you know it i read it along i don't remember what's in it but i i'm not sure clapton really was reading it went when the when the photo was taken it was probably i'm tired of this photo shoot and i'd like i'd like to go home or to a pup you know it's like i'd pray that that's the space that all of us make when we're like we're done with with the camera you know yeah yeah and that eric clapton i don't know you know he he he faults eric faults himself for breaking up john mails marriage because wow yeah well eric talks about that he was apparently quite the you know he was god in england so he was getting a lot of ladies and john was married at the time when he brought him in and then they would corrals together and that ended up breaking up that's what i heard that that's from me that would be too patty boy as well exactly which was the style at the time we could just credit that course yeah and they were friends after that correct same with george eric yeah that's what i'm saying george eric yeah i'm at the george eric you know this josh right the oh yeah we're jim jeffries when we did the uh the one of the beatles records i think it was a hard day's night and there's a song about patty on there and and he goes jim jim jeffy goes man that patty must add a golden pussy with the amount of songs that were written about er he's like i mean dude it's but that's what's crazy is that like there's so many of these like people that are in the rock and roll ethos that have inspired like so much music and you know and like like you said it's like george and eric were best friends and he takes his wife i mean and they're still cool that's the craziest shit you know god damn dude that would never happen that wouldn't in the age of social media now and the way that tmz and or even just the the the magazines in england would have ripped them apart really i'm surprised it probably wasn't even there joe what did you think this is another sidebar but it is indirectly relate what did you think of uh jeff healy's take on hideaway i loved it yeah i love jeff healy i think he he was such a nice man and uh and you know angel eyes and all that stuff that he did in the 80s and you know he doesn't get he doesn't get mentioned in that like the 80s resurgence of blues guitar enough because it's was steve was just such a powerful you know game changer for everyone um i did a gig with jeff healy and in in uh winds are ontario that the winds are blues and jazz fest and i was so excited i was opening up for jeff healy this is gonna be great right yeah he's gonna play all the shit i want to hear he's gonna play like this like like you know you know live at the bottom line that wnew bootleg that was floating around at the time fucking great so i'm waiting around after my show and i see a bunch of orange dance come out jhb with the little scrims i'm like oh okay he's gonna he's got an orange section i'm like where's the marshal where's the black strap with the Bartolini's this is weird then the emcee comes on ladies and gentlemen please welcome the jeff haly big band and there he is with a fucking trumpet fronting a big band orchestra and i was like didn't know he added in him and i was like and it was the only time i saw him live before he passed on he i played his club and he would be there and and i never saw him live with an electric guitar but i did see him i did open up for him as a big trump which is astounding what did he do did he do covers did he do like jump blues and miller shit i was like it was like like mainer furgis didn't like all like all that's and you're like a he must have had to memorize it because he couldn't sight read it and and b it was astounding that he could play trumpet to that magnitude but as a as a as a fan i was like where's the guitar you know but he he was a savant level musician he was another music college like gibbons and all these guys right right do you think it hurt him or that he was in roadhouse and is that a stupid question you know danny yet was on guiding light you know as a it's soap opera my grandmother used to watch it i'm like there's danny you know and you know i was i was on the mickey mouse club didn't hurt me no you weren't what are you really didn't like 92 like playing guitar yeah i flew down uh they they they called because i was like a teenage guitar player oh yeah right and they said they said we'd like to have joe guest and and play some guitar over a backing track on the mickey mouse club and being from Utica New York and the hometown of Annette Funicello we go we go along like like have a long history with the mickey mouse club and i and i came i flew down there with my family and we went to Disney Disney world and it was Orlando and they were all there Justin Christina they were all there and i did one episode and they gave me a little mouse statue which i still have please don't pull it up please don't pull it up dude he's out of a board abort abort abort abort abort there i am um lander strat playing a custom shop strat that john page built for me because i got a fender endorsement when i was 13 and uh dude you're shredding dude i'm shredding they're in it's like yeah that's eric clatch and strat with the rosewood neck that they custom built for me and uh yeah that's uh that's me on the mickey mouse club that fucking but dude you're but you it look it's you'll look bad you know you're young but dude you're you look like you're fucking shredding it and well here's the problem i was more fun yeah i've never watched it and my what my mother called her and cable and Utica New York and said hey my son's gonna be on the mickey mouse club and and they're like oh wow you know what we've been needing an excuse to do a free Disney channel weekend and they put it in the newspaper that local boy is on mickey mouse club and they gave it away and and and they gave a free trial of the Disney channel before cable was a bundle and uh it aired on a Saturday night and i had school on monday and my line at the end of the mickey mouse club was m_i_c_ real soon okay you know that's how i got my sag after card and uh and anyway um so i come to the school eight o'clock in the morning and all the seniors all the seniors in high school so go ahead see you real soon and i was like oh any answer part of my life i know you don't think that might not be cool but check out this this fresh guitar lick not many of you knew i played no what they knew i would disappear not not many people in school knew i played because i didn't want to tell them and uh well how did they find you how did the mickey mouse club find you you know pre-social media like i was on i was on real life with jane poly i was on you know i was a showbiz kid so people would just cold call because we were in the phone book and they would cold call that that my house and my parents would be like okay yeah he can go to blas angeles and be on this show or do this and it was you know it was a it was a it was kind of a public public interest story at the time going yeah yeah there was there was three of us maybe four there was a kid uh i was the kid from upstate new york playing shredding guitar at a very young harmonica kid right there was there was a harmonica kid there was a kid from jacksonville florida named eric trucks um and there was a kid from memphis um who was a little bit older than the both of us who used to still a dear friend mr eric ales and we were all kid shredders there was a kid named guy who plays in my band named josh smith from uh from uh from from four lot daughter daily area he was he was shredding at a young age and a kid from australia named nathan cavalary who stole around and uh and then i heard about johnny laying and kenny wane shepherd so we're all kind of this this 90s pre-social media we call ourselves the og's because we didn't have to dance for nickels on uh on instagram to get to get known we just people would just call and and we'd get these opportunities and and that was it so i forgot you had a producer you pull up there i think it's i think it's awesome man it's it's fucking it's awesome it's it would i find fascinating it's the same way way way way but love having you on and and joe like you know anytime we have a blues artist that you love please i would love to have this over again because it's like when you're yeah because it's like dude it's like it's such you know it's when when you find something that you're just interested about and find and it's also like so fucking cool like there's something about blues and it's also probably one of the most it's the most American music that in jazz you know what i mean it's like are the two great american art forms and you know it's it's for me for someone it's like who who loves music but doesn't know you know the backstory of of really where it all came from it's like it's just it's it's awesome and to see not only are you a student and also an artist of it but you've been a student since you were a kid that is what makes it even that much sweeter i think of being able to sit here and talk to you well it's it's really it's just a it's just you know what we did and it was a means to an end it was better than a paper wrap you know it was yeah it was making money you know i was like you know we're doing gig and and okay when did you know as a kid this is another sidebar that you like had it like a talent for it like you were like oh i think i can i actually can play these licks and stuff my dad would hear me practicing my childhood home you know it was 900 square feet okay it was a thousand maybe a thousand school feet so i would be practicing in my bedroom and then i get a knock on the door from my dad he said play that again play that again and then he took me to a guitar teacher and you know and then they would wadire me in and and whatever and and they're like he's kind of weirdly good and i remember in third grade my music teacher that they were like they were doing they they would teach guitar in fourth grade and so she brought out a guitar so like next year kids we're gonna we're gonna learn some guitar does anybody know any how to play any guitar you're my best friend who knew i played narced on me right so it's like joe plays and here we go right so she's like why don't you come play something for the class i'm like no no and then of course 30 kids are like baiting me so then i went up there and i just learned this song from steve revon called scuttle button and yeah yeah that's all instrumental that's all instrumental right yeah and i started playing it and the music teacher mrs white hill rayat runs out of the room runs out of the room gets the high school band teacher and brings him in she goes play that again oh my god you know and uh it gets to the principal now the principal's calling the house going you know joe plays guitar really well like yeah yeah and i'm like all this trouble but it did buy me cache i said okay they're not picking on me anymore which is good and that's and that's and you know i started my career at 11 so now i'm 47 so 36 years um doing my special and and it's you know it's just a thing i i i can never listen to myself and think i'm any good but i think that's a good thing about yourself is is never no never listen to yourself yeah there's a couple things i go okay that that i'm glad i hit that but there's a couple of things you go you know if you can listen if you listen to yourself and go oh my god that's the best damn guitar like i ever heard then then there's some there's some ego issues um but if you listen to yourself and go you know what i can always get better that's that's really the the the the the watermark of bettering yourself well can i say this is what i say this is what i say about guitar players is the ones i i think connect are the ones that make the audience feel as opposed to just are amazed by the virtuosity that's my opinion yeah and and you got to be an entertainer bb king talking that when i was very very young he goes joe i'm an entertainer i play guitar and i sing but i'm an entertainer right and and buddy guy same same lesson and buddy guy walks out there to this day is 88 years old and bb same thing all they do is walk out and shoot the audience a glance and smile and they stand up and i go work smarter not harder and that's that's that's the suit guy the suit guy is the character and i walk out there and i have to play anything and they they applaud and you engage one at a time just like being in comedy you engage one at a time you're playing to an audience of one and if you got that person you got the rest you know yeah never go never show fear because what you guys do is so much harder than what i do i can hold a note for twelve bars if people applaud you know you bomb two jokes in a row it's a long 15 minutes it's common to get and you can also you can also practice as as you practice hours and hours and hours a day exactly what you're going to play on stage but we have to be in front of an audience to get that reaction to know because we can think it's funny but we don't know it's funny until we hear the the actual laughter so but yeah dude i completely if we had all doubt ourselves i mean it's just like they read it so quickly and in love way if it's in australia it's the other way you know i mean there's there's nights that we go up there and it's like it's like like the mic going it's this fucking thing on it's like we're killing him and then there's nights that we think as a band we're off and it's you know it's not the same every night's why i love touring because you get to start at zero every day and people go i mean i seen like 40 shows years and it's like that was the best i've ever heard you plan like okay really yeah yeah yeah you just got to trust the force you know you just got to trust the process you know it's it's there's a baseline of your best show and your worst show is about five percent you know difference and well you know if you if you don't fuck up and fuck yourself up where is there so i want to say this where is where was the show for you where was the one that hit on it you were firing in every cylinder where you walked off and were like wow like i feel not and not ego just you really it was like i don't think i've i can ever play as well as i did in that moment again two two of my best shows three i'll give you a three and then thank god the cameras were okay my best show i always tell people my best show ever was when we did muddy wolf at red rocks the first time wow 14 what a great place and i was like right yeah that was the second years and years and years and years now uh second was 2009 Royal Albert Hall all the all the stars aligned uh and clap and came out and that was that was amazing i didn't realize at the time because i was paralyzed with fear it was the beginning of the beginning or the beginning of the end i knew that you know broke around right that's when you did further on up the road and i knew my entire future was on the line i said if this thing that's wrong or for that concert well the whole performance you know all the press was there i was getting a lot of hype in the in the uk drawn a big crowd and we finally did the alber hall sold it out and i walked out there i was like holy crap i pulled this off now i gotta deliver so that luckily we did and third um would be a second night of Carnegie Hall the acoustic tour that's i think one of my best performances um and and luckily the cameras were on all three times so uh it's awesome and then there's and then there's Davenport, Iowa yeah dude so he's like he's like he's like you guys rolling out there all yeah the top of Mount Masada and the window and the water breeder is 11 yeah yeah so what would you say to a musician or a young somebody who's just into music why the bino album is important and you might want to give it a listen yeah because whether again whether you like blues rock or not and it really is the the the building blocks of zeppelin and and all the stuff that we listen to heavy blues and you have to you have to appreciate the forward thinking of it and and the the mastery of the people in the room and and you know having to fight the engineer having to go against the grain to create something that the sound of your in your head you know that that comes out and you go i don't care what anybody says i don't care what the doubters say i don't i want to hear what the the engineer in the in the white you know coat says about the way i turn the amp up or the song selection or whatever i'm going to do this you know and do or die and that's a good lesson for anyone in music or in any creative art form is is you know the mavericks tend to win big but they also bet it all and and and if you bet it all and you're in your gut conviction it's it's it that's a that's a winning combination playing it safe it tends to come and go and till you don't play it safe and i've been guilty of playing it safe and and luckily my producer kevin chirley constantly even now pokes the bear and he's like he's like come on you got better in you and and and that's wow that's really sing higher you got the note do this you got this you know you need you need that impetus to keep pushing the the the line up you know yeah well Wayne do you have any other questions you want to ask? No no no you're like yeah no i i do i we keep going but it's like i don't want to keep everybody this was so great i want to ask the same questions you already asked the final question what i would which i would always ask which is like why should everybody listen to this but i'm curious to get both of your reactions of the other stuff what are your favorite songs on this record what's your favorite song uh me double crossing time double crossing what is it that you love about double crossing time more than the others it just it just sticks with you from an age or the solo yeah it's a crazy good and on the on the floor you know what i mean he's playing with the band the tone is i've chased that sound my whole life and never got there and and and john is a singer try to cover john male's voice in the same keys he had incredibly good voice and incredibly high singer and uh you know his his version of so many roads off the hard road record with peter green stratospheric vocal and you know that's a blues band at apex curve double crossing time in my opinion an english blues band dude i gotta re-listen to that song now because i i know what you're talking about but it's like it to know that it's that important wane what about you i'm i this is gonna sound weird but i like hideaway it's an instrumental and i just i what i like about it is it's a showcase for multiple styles of guitar playing in one song and i just it just really moves i mean the whole album is ridiculous with the exception of a drum solo is this is this one of your both like favorite guitar like not guitar records but yeah guitar records is this like you know would you would you is this in your top ten top 20 top five somewhere now top five top five for you yeah yeah yeah when joe would be that for me it's not again it's i i'd listen much more to cream than i do this out i'll miss in much more to lead Zeppelin than i do this i listen to truth more than i do this out so it's just but all again but this is the basis of it all this is the first time literally less paul into a martial like it happened and that happened and it was recorded and some weird kid from suri like just like playing as to just what would you say he's almost like he's channeling bb king and freddy king and average all of these guys through his fingers buddy guy yeah yeah i i always like when when when cats throw a grenade on the blues yeah and take take the heat you know every ten years so he throws a grenade on the blues and right last time it was done was gary clarking and you know now it's kingfish throw a grenade on it blow it up rebuild it right and and because you can't just keep going back to you know could could i just you know study the bino album and recreate it yeah why we have it you know don't do sound or likes throw a grenade and that's the the bino album and john and clapton and that that confluence of people through a grenade on the blues and we're still talking about it and listening to it and and yeah can hear the DNA and and the and the intent in Zeppelin and then and even in black samath you know all this stuff will be sounding way different if it wasn't for that wow wow i love that um all right i hate masses can someone have sex to this record i ask that question everybody it's like how do you do that in this moment but i know if i don't my fans are gonna be like josh you didn't ask the question can you fuck to this record guys can you i the blues i feel like you can it's very sexy in its way but is it just for you guys probably not because you're paying attention to the guitar solos too much and that would keep you out of the game maybe ramble in on my mind what do you think maybe um being slightly on the spectrum and sorry i have a hard time i gotta concentrate on one thing at a time okay it's you know so i'll check out that tone oh what what am i i've lost my erection dude exactly you know i have to ask guys this was such a gift man to have both of you on here Wayne i you know much i love you oh gee please dude i want you you i know you're in LA i want you more than anything than Wayne you i'll have make sure you're there and on the show too i want you to do the goddamn comedy jam which is the music comedy show i do at the comedy store where we've had like you know tamerillos come by and we've had we've had uh you know Tommy Lee just different many rock stars just show up to play but it's comics it's basically a rock concert where comics do stand up and then perform a song with my band but i would love you to to come in and jam a blues song with mark marin because he's i don't know if you ever talk to him you probably have right but i i know i know i always know him too yeah he is such a blues fan and he's so good at guitar and he loves the you know the sound and everything you're talking about we've done like we've done some freddy king stuff before or even like what he'll do is this is a funny story the first time he did the show i was like dude so you know i explained the show and he goes all right yeah i'll do a Rolling Stone song and i'm like great we'll do like symphony or like gimme shelter like one of the popular ones he goes he goes yeah i don't know if i want to do that i was like well you know you want to do something the audience knows and he goes yeah i can give a fuck about the audience he goes i want to do this 1960s japanese only release little red rooster and yeah so to give you an idea like and we did that and then he did symphony but you're dude just to be able to jam with you it's like yeah this is gonna happen this again i know it's gonna happen i'll talk to mark it or are you on tour in october uh not the beginning of october at the end the end fuck all right we're the i think we're the end of october but i'll i'll stay in touch we'll get dates we'll make this work and it'll fucking rule yeah i'll give you my number in the little chat area so you just call me perfect promote away guys like uh like joe what do you have going on just whatever you want to promote please take it you know say it all um the next the next thing i we have a tour starting at the end of october as i just said um but but but the next the next thing i'm doing is uh uh something that's near and dear to my heart here in los angeles is on sunday i don't know when this airs but but this sunday um a bunch of us through norm's rare guitars are getting together and we're doing a a benefit for the midnight mission which is a homeless right outreach here in la and and i you know i for me charity always starts at home and we have a big problem here in los angeles um uh you know uh so so we're doing that it's jackson brown and it's been skill and albert lee and and everybody playing this little place called the write-off room on venturable of art and you know what it's it's it's it's for a good cause and we raise a lot of money and and and and they do they do help people get off the streets and there's so that's that's an incredible thing and the write-off room i've done a show there before there used to be a competition it's a really good little venue off of ventura like by like woodland hills right they moved it actually closer to me it's actually in studio city now which is even better all right on i dude that's awesome man and and not listen i will reach out wane please uh promote away well i'm what's coming out it's not going to come out till next year but i'm working on an hb producing this hbo documentary on mel brookes two-parter jud appetizer acting so that's that's kind of what i'm doing and then just doing stupid gigs around town nothing anyone has to say it's never stupid wane well have you back on joe we'll have you back on thank you guys thank you so much dude appreciate it oh this was dude this was so great this was so great what did i tell you a cream fucking dream on all social media at insta federman on twitter at federman so instagram insta federman and twitter at federman uh joe is just his name at joe bonamasa and on instagram and on twitter j bonamasa and check out joe's live at the hollywood bowl with orchestra it's out now on every format but cassette and vhs y'all all right for new music this week since we just listened to bruise breakers boo from 1966 our new music pick this week brought to you in part by distro kid is waiting for the dawn by walter trout and you can find links to the music on our website the 500 podcast.com and if you're in a band and we're directly influenced by one of these albums our artists and you want your music featured on the 500 send us your song to 500 podcasts at gmail.com and we will play it next week you're ready for this one mikey and are you gonna kill me one day it's lu reads transformer this guy wrote a great book one of our fans an incredible book uh about lu read and uh yeah man it's next week baby we got the guess for you dig in do your homework and we'll talk to you next week there's a shadow on my heart and i feel like there's a curtain on the side yes i do now there's a shadow on my heart and i feel like there's a curtain on the side my baby's gone yes it's gone and i'm here i'm just waiting for the dawn there ain't nothing moving it's so hard for me to carry on there ain't nothing moving it's so hard for me to carry on now lay in the darkness baby and i'm just waiting for the dawn waiting for the dawn so so so so so so the night is never ending when you land there all alone the night is never ending when you land there land there land there all alone and now my lover has gone and i'm just i'm here just waiting for the dawn oh yeah and now my lover has gone and i'm just waiting for the dawn yes i am i'm waiting for the dawn the 500 keep it if we see through the flu's nation on the 500 full 500 we'd never admit it but deep down we all get at least some pleasure from bad things happening to somebody we don't like history's full of stories about bitter enemies being mutually horrible usually nothing good comes of it but sometimes sometimes you get soul singers James Brown and Joe Tex or 17th century nun Sorhuana and the entire Catholic church duking it out and dramatically changing our world on beef with Bridget Todd we tell the stories of those petty feuds behind some of the greatest art innovation and global events listen to beef wherever you get your podcasts hey it is ryan c crest there's something so thrilling about playing chumba casino maybe it's the simple reminder that with a little luck anything is possible chumbak casino dot com has hundreds of social casino style games to choose from with new game releases each week play for free anytime anywhere for your chance to redeem some serious prizes join me in the fun sign up now chumbak casino dot com sponsored by chumbak casino no purchase necessary vgw group void we're prohibited by law 18 plus terms and conditions apply next chapter podcasts
