Blues Society of Western PA - Newsletter

Four days in Memphis at the International Blues Challenge…. that was the place and that was the mission. As the airport, streets, hotels, and bars filled with blues lovers from around the world, the air was definitely charged with anticipation. Despite the cold weather, high winds, and rain, the clubs were gearing for a scorching four days. The enthusiasm and excitement were contagious no matter where you went. It was spreading faster than the flu. The pre-jitters were settling in as we stepped out of the cab. Band members scurried to the clubs with their tools of the trade. Blues members were aggressively searching out the fun. We, the blues fans, were back and Memphis was opening its arms to welcome all of us. All of the usual sites were there, in place and ready. The BBQ aromas and the searing sounds of the blues were floating in the air.

The competition officially started on Thursday when the bands checked in and the fans received their programs. The programs were snatched up quickly to find out where and when “their” band would play. The fans were animated as they plotted their weekend jaunts. The first round of the competition was scheduled to start at 5:00 P.M. The instrument-carrying musicians hurried to “their gig.” The fans rushed to get started for an endless foray of good music. The music soared to amazing heights on that first “official” night of the competition. The fans scrambled in and out of the various venues. They readily shared information about what they had heard and were anxious to get tips on what was to come. It was unanimous…everyone, everywhere raved about the amazing talent, the presence, the ambition and the possibilities. Every band and performer was a winner…there was not a loser in the crowd. There were one hundred and fifty entries in the 24th Annual International Blues Challenge. The contestants came from all over the United States. Some came great distances to compete…. Canada, England, France, and Japan. It was ALL ABOUT THE MUSIC. The fans were not disappointed. Many times over the weekend, I heard, “Wow, if this band was this good, can you imagine what I missed at the same time in the other clubs.” It was an evening(s) of sharing, experiencing, and savoring. The music was the common thread that had brought the people to Memphis.

The after jams were everywhere. The musicians flocked to them to participate despite being in the midst of a grueling competition. They were there to learn, listen and again to share.

The second day of competition proved to be more exuberant. The WORD was out. People were seeking out bands. Venue owners, festival owners, and fans were seeking out those that so many had raved about. The competition wrapped up around midnight on Friday and the winners from the various venues were announced. The waiting for the announcements were agony. The losing bands took their loss in stride and headed off to participate in the jams. The opinions varied about the judges’ choices. Again, it was a competition. As Jill West commented, “ If the judge likes harmonica players, then I am not the one for them. If they like big chicks, then I am the one for them.”

The finals were on Saturday at the historic Orpheum Theater. Again, the excitement and the expectations were running rampant among the spectators and the performers. Many of the fans and the bands were again upset by the choices. Many did not understand why one band was chosen over another…and at times for good reason.

There were ninety-nine entries in the band category. Only ten would be chosen as finalists in the band category. Only three of those would place. The solo/ duo category had sixty-six entries. There would be only six finalists and only two would place. After a long day in the theater watching the finals, the many band members again headed to the clubs to do what they do best, just play and enjoy the music. There were no losers in the entire competition. Bands had come from all over to share their honed skills. They all gave and they all received.

Many had gotten bookings while they were in Memphis. The IBC has proven to be an “opportunity” for the future for many contestants. It was all about the talent and the visibility. The “seen and being seen” was to the advantage of each and every participant. It added a new dimension to the allure of Beale Street and to those amazing four days.

Jill West and The Blues Attack played at the Double Deuce. The first night, the dance floor was so crowded that the judges, as reported, had difficulty seeing their performance. That coupled with an amp that blew during their second number gave them the “Lousy Luck Award.” However, as the band took to the stage on the second night, our local blues girls “subtly” kept the frenzied crowd away from the judges’ table so that they could really “see” the show. The judges got a large dose of the Blues Attack that night. The showmanship, the skills, the stage presence was spectacular. They did Pittsburgh proud! People up and down Beale Street were stopping Jill and her group and showering them with praise and thanking them for the great performance. The Pittsburgh Blues fans should have been given “the amazing fan award” for their loyal and vocal support of our band, Jill West and the Blues Attack.

Jeff Kelly, our solo’s representative, was hosted at the 152 Club where he presented his unique style of Piedmont Blues. The audience became engaged in the how’s and why’s of his songs. The fans were given the opportunity to “experience” the depths of his music. As I stood to the side of the stage to assist Jeff with his equipment, a young couple from California praised Jeff’s talent. The duo had competed earlier at the same venue and stated “Jeff is the real deal.” They had said that he was not flashy, boasting or being aggressive like some musicians. They added, “We knew that he had to be good at his craft long before we heard him.”

Although Billy Evanko and the Regulators were representing West Virginia, the “Pittsburgh” gang joined forces and gave him their support. The first night, Bill seemed nervous. The second night, with the fans in place, he put on a sizzling performance at B.B. King’s. Chris and Izzy, the duo that represented West Virginia but are not strangers to Western Pennsylvania, were on our list. However, due to scheduling changes at the venue, Pig on Beale, they went on earlier than expected. Donna Bennet, however, was at the scene and reported that it was an “awesome” experience watching them perform.

As we headed back to the airport on Sunday, we saw many of the Blues fans that we had encountered during our adventure. We all recapped the events and vowed to return another day. We had all just taken “a walk in Memphis.” Jonnye Weber

The Blues Society had the honor of hosting its first National Act on Sunday, March 16 at the Thunderbird. Unfortunately, Bubs McKeg, the opening act, had to cancel due to illness. The “Blues Good Neighbor Award” goes to Shari Richards who agreed to step in with only a few hours notice. Despite having to take over for Bubs and having a full head of hair and maybe being a touch cuter than our hometown favorite Bubs, Shari took to the stage with guitar in hand and the spotlight was on her and her alone. The audience was mesmerized with her soulful, energetic offerings. She tantalized everyone with her version of Queen Bee and led them through a meandering and sizzling melody of songs. Her rendition of “I Would Rather Go Blind” brought the crowd to their knees.

E.G. Kight, from Dublin, Georgia, headlined the show in an “Up Close and Personal” performance for the area’s blues fans. Michael Allison (Global Muse) once stated about E.G. Kight, “…a truly impressive vocal range that has a growl of a tiger and the soft seductiveness of a Siron Goddess. The music she performs is done with such a down home gut wrenching feeling. You could swear that she is singing to you. That is real blues!” Cheerful, upbeat, and unique are only a few of the words that could describe her driving performance at the Thunderbird. Engaging and personal were adjectives that often came to mind that evening. Her overwhelming talent was evident with her many, personal musical offerings. Her tunes were wonderful and her guitar work outstanding. Kight’s performance included many selections from her CD, “Live and Naked.” She exceeded the audience’s expectations and proved the reason for her many blues nominations. It was definitely a good night in Pittsburgh!

- Jeff Kearns

Studebaker John sat down in the back room of Moondog’s for a talk with Jeff Kearns.
It was the second night of a two-night foray to record John’s latest live-recorded CD. The following is what transpired:

Jeff: You are from Chicago. Were you born there? I have my cheat sheet because you are one of my favorites. I just love you man.

John: Yes, I was born in Chicago.

Jeff: It had to be exciting to be in that era, the 70’s Chicago scene, with Hound Dog Taylor and many others. What did that mean to you? Could you tell me a little about what was happening then?

John: It meant a lot to me. I would not be playing today if I had not experienced that. I was a drummer in grade school. Mainly, I played the drums. I was just playing “stuff.” I was born in 1952 and was messing around with the guitar. I was playing Ventures stuff, mainly. I did not really care much about the guitar.

Jeff: What got you into the Blues playing?

John: I was down on Maxwell Street and saw Big “One-armed” John Wrencher. He was a one-armed harp player. It was a three-man group set up at the beginning of the alley. There was a guitar, drums and harp. All three were plugged into the same amp. Big John was playing harp and singing on the same amp. Big John got me interested in that type of music. Later, I heard the Rolling Stones playing. They reminded me of what I had heard on Maxwell Street.

Jeff: You heard these guys and you wanted to play the music?

John: I heard J.B. Hutto play. He had a great voice and had a “smoking” slide guitar. I took a friend and my older sister down to an underage club to hear Hound Dog Taylor jam with J.B. It was my first time in a place like that. Brad Phillips and Ted Harvey called J. B. up to play. What a show!!! It was unbelievable!!! That is why I started playing the guitar.

Jeff: You were seven when you started playing the harp? How did that come about?

John: I just picked up the harp and made noise. I just messed around with it. I was just like a kid who picked up their Dad’s instruments. I just liked the sound. After hearing Big John Ratcher play, I thought that I could try to do that to. I took up the harp and still played drums.

Jeff: You said that Freddie King and Albert Collins influenced you in a big way.

John: Albert Collins played a weird tuning. He still could play the lead, chords, and all. He had a different sound but could still do it all. I still do not know what it was. Yes, he influenced me. He inspired me to do more with the slide and finger picking.

Jeff: The only other guy that I know who played with currency was Roy Buchanan. Buchanan used a dime and you use a quarter. I still have the quarter that you gave me a while ago and still cherish it.

John: I use a quarter. Nickels are too thick. The quarter is still thin enough to use. You can get comfortable with any coin. You just have to wear it down with your playing. Old guitar players used to use some type of metal to do finger picking. I do a little finger picking with just my fingers.

Jeff: When the Yardbirds came to Chicago to play the blues, you had to be honored when you were asked to play with the group that they had put together.

John: George Pollis, a producer from Chicago put together an All Stars or Super Group from England, the Yardbirds and the Pretty Things. The producer had heard me on the radio and asked me to join them. I was not sure if the guys wanted me to be there, but I said sure. Richard Wright, of the Pretty Things, already was the lead singer and harp player.

Jeff: What did you think of this “British Invasion”? How did it work for you and the guys? Was it a big thrill?

John: They were not Blues fanatics. They did not understand why we were trying to do what we do. They would copy the music from the musicians and include the mistakes. The Chicago producer and I had many “knock-down” arguments with them over that. It was a mistake for them to play the mistakes. They felt that the mistakes are what made those musicians that they were copying great. That is not what made them great! If it was a twelve bar, they would play thirteen. They did textbook playing.

Jeff: They came to Chicago for the Chicago influence in the Blues?

John: They had to learn from the playing. Interestingly enough, I sometimes listen to those recordings now and realize that they were better than I thought. Another thing, we had three records that came out. The first two were through St. George’s Records and Demon Records. The third was the best, I think. It had many original songs. It also had good versions of Chuck Berry. There also was a nice version of my harp to one of the Yardbirds own song.

Jeff: Where do we get those records?

John: You can go online and order through Demon. The third was never released. I still do not know why!

Jeff: You have traveled overseas to play the Blues. How do those fans differ from the ones here?

John: We, (the U.S.), have “pockets of fans.” The fan base in Europe is on a bigger scale. The population that likes the blues has expanded in Central Europe to Russia, Lithuania, Latvia, Poland, etc. The Europeans have not embraced the Country and Western music like the Americans.

Jeff: Do you spend a lot of time overseas?

John: We are well received over in Europe. We did a long tour there last year and two short tours there this year.

Jeff: Today, you are promoting your CD, Self Made Man. You are self-taught? I am a self-made jeweler, myself, and I know that I have learned mainly from looking over people’s shoulders and asking a lot of questions. Is that pretty much how you have done it? (John was a plumber by trade at one time.)

John: I learned by watching Hound Dog Taylor. I would watch and try to expand. I do different things and different tuning. That is what I do different. I learned to get around on the guitar: chords, fingering, and voice. I try to make my music progress. I used to be a Purist. As I get older, I want to “stretch” out. I will always play blues…that is what I do. I play Albert Collins. My voicing gives me a unique sound. I used to be a purist and played nothing but pure blues. It is not that it is not “hot” blues. It is where I grew up and will remain.

John: I watch and keep trying. I had the advantage of having actually met those guys, Hambone, Hound Dog, J.B., and many others. We were not good friends but I could show up in the clubs and ask them questions and talk with them about the music. J.B. Hutto was one of the nicest guys that I have ever met and gotten to know. I would sit and watch his shows and yell out all of the tunes that I wanted to hear. He would always play my favorite, “Hip Shake.” We would sit between sets and talk. We would then talk for hours after the show.

Jeff: The local Blues Society has been challenged to keep the music alive. Do you have any suggestions on how to rev up the local scene?

John: My advice is to be more open-minded. The Blues has to progress like any other music. If the Societies are “bent” on preserving the music, then let it grow. For example, I put all of my stuff on a record and included all of my influences. It still satisfies the purists but it also has rock and roll. My music has and will go forward.

Jeff: As a musician and blues person, what do you think of Moondog’s as a Blues bar?

John: It is a real Blues Club. A lot now are tourist trap-type clubs with restaurants. I am not putting anyone down; I am just trying to be honest. Moondog’s is a real music club and a real blues club in essence. If Moondog’s was in Chicago, it would fit right in.

Jeff: Your show last night was great! Your shuffles and boogie were awesome. It was like watching a gearshift. They reminded me of old girlfriends. It was truly beautiful! Are you enthusiastic about tonight?

John: Thanks. We had some technical difficulties last night that hampered the recording. I think we got some of the first set but lost the entire second set. I hope that tonight “gets it.” We are not sure what is going to happen. We will try to make it work. If it doesn’t, we will do it again. Music is just like anything else. It is not easy at first. If you love it, you will keep at it.

Jeff: Thanks for being here today and thanks for talking with us and doing a filmed interview. I love you, man. We have to wrap this up and get the show started.

- Don Vecchio

When I first heard the line-up for Eric Clapton’s 2007 Crossroads guitar festival, my jaw dropped...B.B King, Buddy Guy, Steve Winwood, Jeff Beck, Johnny Winter, Robbie Robertson and many, many more. I knew that I could not go but hoped to be able to see highlights…at least, and maybe a show on TV with an hour of clips.

Well, I was looking for Christmas gifts and by accident came upon, “Crossroads 2007 DVD” and the price was right, too. It was about $25 for about four hours of the concert. Believe me, you will never spend $25 more wisely. Not just Blues lovers, but any music lover, especially guitar enthusiasts.

Just a glimpse…here is a few of the high and low lites. Bill Murray, who opened the show with “the only song I know on guitar” -Gloria, hosts the concert. He tries and a minute into the song, Clapton comes on stage giving Murray a quizzical look. Some of the most impressive performers to me were Derek Trucks, who played guitar for almost everyone there, including Clapton. His finger and slide style sounded just amazing.
Also, Doyle Bramhall II was impressive. I was not familiar with him but will not forget him. Los Lobos is also a favorite of mine. They played great as usual. Steve Winwood was my favorite, though. He and Clapton together ala Blind Faith. They played a hypnotic version of, “Can’t find my way home,” along with a few more.

The biggest disappointment to me was Jeff Beck. He is an all-time favorite of mine. He played none of his old standards. What he did play was some bizarre instrumental space-age sleep-inducing jams. I suppose others will enjoy it but it was too strange for me.

There is a country set on here, also…. Vince Gill, Sheryl Crow, Albert Lee, Willie Nelson. John Mayer plays a couple tunes. Mayer is a good, young artist. Derek Trucks’ version of Clapton’s “Anyday” is superb.
I have seen the whole DVD three times and parts of it countless times. I am not even close to being tired of it. In fact, I am in the mood for Johnny Winter and “Highway 61.” So, I am done here-I am going to watch-go get your own.

You don’t piss into the wind, you don’t play leapfrog with unicorns, you don’t test the depth of the water with both feet and you don’t go to Memphis without saying hi to Barbara Blue. She has been a staple at Silky O’Sullivan’s for over 10 years for a good reason. She’s good and she entertains like few can. This CD helps bring that live feel to you.

The CD opens with an introduction by Silky himself. He says that her legend on Beale is that “She can make a glass eye cry”. She starts with her own, “Low down dirty dog”. There are fifteen selections in all, including classics: “Woman be Wise”, “Stormy Monday”, “Wang Dang Doodle.” Also included are those that we love to see her perform: “Toolbox Blues” and “Hound Dog”. Before the song, “That’s Not Your Baby,” she pays tribute to Garth Asmussen from the Pawnbrokers…Calling him one of the most underrated harmonica players. I agree, Barbara!

Some songs are just Barbara and her long time keyboard player, Nat Kerr. Others include, Lannie McMillan on sax and the very talented and very young [He may be able to drink legally now] Corey Osborn on guitar.

There is good reason she has this long running gig, her vocals are phenomenal; jaw dropping at times. One listen to “Oh Holy Night” and you will understand. She even sounds good when she starts that familiar “Here We Go Steelers” chant.

So, invite all of your rowdy friends over, load up on your favorite beverages and make a pot of Irish stew. When the mood strikes, play this CD, relax and enjoy. If you can’t come to Memphis, bring it home to you.

- Jim Weber

I am always a bit leery of tribute albums. How do you improve upon the original? You run the risk of merely parroting the artist, a great technical achievement, perhaps, but-well, its already been done. If you try to “improve” on the original, you run the risk of straying too far from the source.

It is especially true when the tribute is for an icon of the harmonica world. Little Walter was one of the most influential instrumentals of the second half of the twentieth century. There is not a blues harp player alive today that does not owe a huge debt to Little Walter. Every one of them has copped at least a lick or ten from him.

Dennis Gruenling is a relatively new and exciting harmonica player from New Jersey. He has some innovational approaches to the harp that made me especially anxious to hear this album. How was he going to handle this conundrum? He brings along some big guns to help him. Kim Wilson, Rick Estrin and Steve Guyger share harp duties. Rusty Zinn hops in on guitar. With that triumvirate of harp greats onboard, you have a harp extravaganza! Gruenling avoids the more popular of the Little Walter material. There is no “Juke” and no “Roller Coaster” but that is fine with me. He digs up some songs that I had never associated with Little Walter. Standouts for me were: the do-woppish, “Corella” with a killer first position solo by Dennis; “I Got to Go” (one of my favorite Little Walter tunes that drove me absolutely crazy until I discovered third position); “Teenage Beat” a chromatic piece that is basically one chord which makes it challenging and interesting (Dennis, Rick and Kim take turns on that one). “That’s It,” a third position song, will keep me busy for months trying to learn it. Dennis’s wife, Gina Fox, sings on three cuts. Although she possesses a great voice, I think she is more suited to jazz than blues. She is a little too smooth and polished for this stuff, (in my humble opinion).

Overall, I think that Dennis did a great job of paying homage to Little Walter without being a carbon copy of his playing. He manages to put his own spin on it without straying far from the source. With the help of three of our greatest living harp players, it is an album every harp geek should own. Blues lovers that are not so harp-centric, as I, will like this one.

Fiona Boyes’ road to the American blues scene was not typical. She arrived in the states in 2003 as the Melbourne, Australia entry to the International Blues Challenge in Memphis. She won! Her fingerpicking style on guitar impressed not only the judges but also Hubert Sumlin and Pinetop Perkins. A much-impressed Pinetop said, “I ain’t never heard a woman finger-pick a guitar like that since Memphis Minnie. She’s the best gal guitar player I heard in more than 35 years.” Most players would kill for an endorsement from Pinetop. She was nominated for “Contemporary Blues Album of the Year” in 2007. Her vocals remind me of Kelly Richey-powerful but not gruff.

She wrote 10 of the 13 songs on this CD. Her songs are the kind that will last and probably get covered by others. Other artists included on the CD are Marcia Ball, Bob Margolin, Kaz Kazanoff and The Texas Horns. Fiona may be labeled country blues but she covers many blues styles well. That versatility is what keeps this CD fresh even after the grooves start to wear out. [Or is that vinyl?] She is possibly the most unpretentious artist I have heard in years. She is definitely not afraid to take a chance. “Celebrate The Curves” is an anthem to promote those places that shape our ladies—the 3 B’s---Boobs, Butt and Belly.

This CD cooks. If I had to come up with a recipe it would be—
2 lbs. Raw Blues
1-Cup Sass-Female Style
2 Tsps Rock-a-Billy
1 Tsp Dixieland
¼ cup Boogie Woogie
Dash Salty Humor

Put all ingredients in pressure cooker. Turn on heat. Let smolder for about 1 hour.

- Jim Weber

Mark Stutso is best known for being Jimmy Thackery’s drummer. It is a team that has lasted for eighteen years and still is going strong. If there is one thing that I have learned about performers, the caliber of Jimmy, it is that they get their pick of players when putting a band together. There are no weak spots in their bands and Jimmy has none in his. Mark is a powerful drummer, definitely in charge of driving the band keeping it going in the right direction. His bio reads, “…instead of learning all the speed fills, flash and so on, I went for the groove. Protect the beat.”

“Rock my Soul” is Mark’s first solo effort. There is a definite Pittsburgh connection. It was Norm Nardini who urged Mark to record ten of his songs. There are a total of eleven cuts, one being the cover of Eddie Hinton’s, “I Want a Woman.” Norm and Glen Pavone handle the guitar work. Glen’s playing is beyond description. I did not hear a bad or even average lick out of his guitar. He is awesome. Band mate, Tom Valentine, is on bass. Others include: Herman Grannatti, Gene Ludwig, Fred Delu and Whitey Cooper. This CD covers a wide range of styles. “Bow Legged Woman” is Blues. That song along with the rocker, “Victoria’s Secret” shows the sense of humor that only Norm can deliver. Even in a lousy mood, these two will bring a smile. Other songs lean toward R&B and Soul. “You Go Your Way” has a 50’s feel. My personal favorite is, “Just Like a Woman.” It could sit perfect in any Jimmy Thackery CD.

The real star of the show is Mark’s vocals. They are gritty and powerful but with a soft, soulful, and melodic side when it calls for it. He is a self taught drummer and vocalist. Mark Stutso has a tremendous natural talent and it shows through out this CD.

Jim Weber

I saw the line-up for the Tommy Castro show at the Rex Theater and wondered what to expect from the Castro Band, Magic Dick, Deanna Bogart and Ronnie Baker Brooks. As Tommy Castro took the stage to start the show, I was puzzled…Tommy was opening? I noticed Deanna Bogart sitting at the keyboards. After a couple of Castro tunes, he filled us in on what was to come. He introduced Deanna. He said that after a few tunes Magic Dick would join them. After a few more tunes Ronnie Baker Brooks would then follow. It was not what I was expecting! It sounded like (and was) a full night of Tommy Castro, which I sure did not mind. They started at 8:00 and played until after midnight with only a thirty-minute intermission. During the intermission, all of the performers came out, signed autographs and talked with everyone. We even got a few pics with them. I was always a big Magic Dick fan, going back to the J. Giels Band days. I spoke with him for quite a bit and asked whether they were having as much fun as it appeared. He assured us that they were. Ronnie Baker Brooks blew me away. I was not familiar with him as I was with the others. He made a fan here, starting with great guitar riffs on “Born in Chicago.” There was almost four hours of music that night and everyone in the place had a smile. It was also a nice night for the Blues Society of Western PA. The band all migrated to our table and some people met us for the first time. A lot of old friends visited also. It was a great night and I hope to get to attend more like it.

- Don Vecchio

“Up Close and Personal” …Talking with Gil Snyder

- Jonnye Weber

Gil Snyder, founding member of the Mystic Knights, recently agreed to chronicle his part in the Pittsburgh Blues scene. Known as a stellar keyboardist, Gil has graced many stages with his sometimes tender toying with the keys and other times romping, furiously over the same keys. Either way, the audience is never disappointed. I first saw Gil at the finals of the First Annual Blues Challenge. Gil and his band “owned” the stage that night with a tremendous, overwhelming presence. It was a searing, charismatic performance. Gil, dressed stylishly in a suit from the forty’s, tilted hat, and spectator shoes, rocked the house. All I could think was, …Wow, who was that well dressed man who had just brought the house down?

Jonnye: Gil, when did you first become interested in music?
Gil: I was just thinking about that the other day. When I was very young, I went to my Uncle’s house and he had an upright piano. While my family was talking, I was pounding away on the piano. They must have seen something, because I started taking lessons soon after.

J: How old were you when that happened?
G: I am not sure, about 9 or 10 years old. Here’s something…my first paying job was being an organist in church.
I played the 11:00 mass at St. Regis in Trafford. You could say that I had my own mass. (laughing) I was the head alter boy and the nuns kept giving me pamphlets to go into the priesthood. I was outgoing and friendly so I guess they thought that I would be a good candidate. (We both laughed.)

J: You were with the Iron City Houserockers from the beginning when they made their best records: “Loves So Tough,” “Bricks,” “Have a Good Time But Get Out Alive.” How much did you contribute to the writing of the material?
G: I played on the album, “Love” but did not write the songs. My name does appear on six songs on “…Get Out Alive.” We worked with Mick Ronson and Ian Hunter (Mott the Hoople) who were English. Little Steven, from the Springstein band, was there, too. Steve Popovich was the producer. At one time Steve had been with CBS Records. He then formed Cleveland International Records. Actually, we found his name on the back of a Southside Johnny album. We just sent him a cassette that we made in our basement. (Laughing). It was truly a “Cinderella” story. People do not think that it will happen but it did…. once. (Sighing, while remembering) Wow, it happened to us.

J: The Houserockers is still considered by many to be the best “bar band” …ever. What is your take?
G: (Thinking for a minute) Actually, I thought that we were better than a “bar band.” I think that we should have been called a “theater band.” I guess that is better than being a garage band. (Laughing) It was a regional thing. We played blue-collar music. Actually, it is still in my veins and I still do that.

J: What happened that the group broke up?
G: There was a change in the regime. After having been there ten years and four records later, the Japanese bought the label and cleaned house. Unless you were Elton John and making lots of money for them, then you were out. After touring, traveling and some plane rides, we were back in the ‘Burgh like nothing had happened. (Gil was silent for a moment)

J: There has been a lot of talk recently about the Houserockers…the film, the articles, interviews: how has that affected you?
G: I was there for the party before the Joe Grushecky Documentary. I had to leave for a gig and did not get to see it (the showing of the documentary). I hope to.
(I then pulled out an old album, “Bricks” that Jim Weber had found at the Exchange in Squirrel Hill and a recent newspaper clipping. Both had old pictures of Gil. He signed both while he reminisced about those times.) (He laughed and said that he had a bold “posturing” back then. Laughing, he added that he “had hair then”).

J: What was the name of the group you were in before the Mystic Knights?
G: Bon Ton Roulette. Jeff Ingersol of Bone Daddy Records approached me after the Houserockers broke up. He had already put a band together and offered me the job. It was a “horn” band and played R&B, Soul, and 30’s and 40’s music. We used Bone Daddy’s extensive collection of ‘78’s (records for those who do not remember). In fact, Bone Dog Records is the best studio in Pittsburgh. We are currently working on some songs in the studio.

J: What led you from Blues/Rock to Blues?
G: I was always into the Blues. Porky Chedwick, who spun records on Wamo, was the single person who was the most responsible for my playing the blues. He played Roots music and introduced me to the music of Muddy Waters, Hounddog Johnson, and Howlin’ Wolf.

J: You have won four People’s Choice Awards in Pittsburgh and have been inducted into the Pittsburgh Hall of fame. Is it hard to live up to that? Do you wish to be judged and/or remembered from your past adventures or from your current or future ones?
G: I do not even think about those. I just do the best that I can do. I just play music. I would (seriously) like to be remembered for being a Pittsburgh player and that I have never had a day job. I work five nights a week and hustle during the day to get those dates. I try to take Monday off but that does not always happen. The phone rings and I am back to working. (Laughing with his famous Gil Snyder laugh!)

J: Do you book everything alone or do you have booking agents?
G: I work with General Talent who helps a lot. I also work with Full House Entertainment. They both work hard for me.

J: What is your wish for the future?
G: I wish that the people who run the venues would know more about the music, the history of the music in our town and what bands are in our town. It is a tough town to book jobs in at times… When you call someone after playing in the area for over twenty years and they say, Mystic Knights …who???

J: With over twenty-five years in the Pittsburgh music scene, you have many stories to tell. You have met many national acts. Tell me about those that stand out in your memory.
G: We warmed up for Lou Reed once. His people actually carried him into the club. They started the music and suddenly Reed popped into the “Gig Mode”…The show must go on. That happened with several others and the same thing happened…(laughing uproariously). I had the most fun with Mick Ronson who worked David Bowie. He died in the past few years.

J: Do you want to share the “most fun”?
G: Laughing …Mick Ronson was always worried about being known as gay. He had done a promo picture with Bowie that looked suggestive. He walked around carrying Playboys and reading them so that people would not think he was gay. He was a very down to earth guy…and he was not gay!!!! Gil then added, “not that there is anything wrong with that.”

J: Anybody else come to mind that you would want to share with us?
G: Steve Cropper from the Booker T and the MGs. He was a cool guy. He would have us over at his house. Come to think about it…. he came to a picnic at my house when I lived in Regent Square. He produced “Blood on the Bricks.” He works out of LA. I was a “little shy” financially once long ago and he lent me $50. (Laughing uproariously) I still owe it to him. I saw him at the Point (Pittsburgh) three or four years ago and I did not bring it up. I forgot that I still owe him. (Laughing) …Maybe you should him a copy of this and remind him. (Laughing)

J: I read on your site’s bio that you worked at the Decade with Bon Jovi.
G: At one time, everyone played the Decade. I was standing in the kitchen during a Houserockers’ gig when a guy shorter than me came up to me and said that he loved my “Old Man Bar” song and liked that he liked the reasoning behind it. It was John Bon Jovi. I think I met him earlier when we (the Houserockers) were in New Jersey. The house was packed. He asked where the bathroom was. I wanted to avoid his being trapped in a busy club in the public bathroom. We had one in the dressing room. To get to the dressing room, we had to walk up the stairs and walk across the roof of the Decade to get to it. The door to the dressing room was kept locked because you never knew what “activity” was going on in there. (Laughing) Well, we got there and the door was locked. He had to go and I really had to go. . So…. we went to the side of roof and both took “direct aim” into the parking lot below. There we were, Bon Jovi and I both relieving ourselves off the roof. (Laughing, uproariously)

J: Many feel that the Decade was the backbone of the music scene in Pittsburgh. I guess you have a lot of memories. Is there anything that you want to share about that well-remembered landmark in Pittsburgh’s music history?
G: (Thoughtfully) Dominic Desalvo owned the Decade. He was the best club owner in the “entire universe!” He was a friend to musicians and treated “talent” with the respect that those individuals deserved.

J: I understand that you play the accordion. Is it a hobby or something that you include in the act?
G: I play an Italian accordion. There is a hole in the bellows. You will see it soon. I used to do 3-4 songs with it in the second set. I need to buy another one or get it fixed. Anyone out there got one for me to use???? (Laughing)

J: At Halloween you showed old black and white, reel-to-reel horror flicks. Is that a hobby?
G: (Quietly) I have a degree in cinematography. I had an academy award nomination in 1976 for an “animated short.” Basically, it was a cartoon.

J: What was the name of it and the subject? Who did you lose to?
G: It was a cartoon named “OOZE.” It was a “mish mash of incredible mayhem.” Well, I lost out to a Disney production. I was really upset at losing. …Groucho Marx was giving out the award! (Laughing!)

J: So you have an extensive library of old films? What do you do with them?
G: (Seriously) I like to have an excuse to bring them out. I have 16mm, 8mm, and super 8 films. I would like to do a film night somewhere if someone would allow me.

J: If someone were to make a movie of your life, who would be most likely chosen to portray you and why?
G: Wow! Soupy Sales…. because…(laughing uproariously).

Gil Snyder: the man, the musician, the interview…. a man who plays the blues in Pittsburgh. Thanks, Gil!

- By 13 year old Paul Markgraf---8th grade term paper

There are many different kinds of guitars. They vary in sound, quality, and ability. I know how to play the guitar but I always wanted to know their origin. I have decided to break up the guitar into two categories: electric and acoustic.

The development of the electric solid body guitar owes a great deal to the popularity of Hawaiian music in the 1920’s and 1930’s. Hawaiian guitars were solo instruments played with a metal slide. Electric Hawaiian guitars were the first instruments that depended entirely on their sound being amplified electrically not just acoustically.

A key figure was Adolph Rickenbacker, who originally made metal components for Dopera Brothers National Resonator Guitars. While at National, Rickenbacker met George Beauchamp and Paul Barth who had been working together on the principle of magnetic pick-up. Together they formed the Electro String Company and in 1931 produced the first Hawaiian guitars. Their success prompted Gibson and others to start producing electric guitars.

In the 1940’s Gibson’s new electric models became firmly established. People began to work on ways of applying the solid body of the Hawaiian and steel guitars to regular instruments. In 1944, Leo Fender, who ran a radio repair shop, teamed up with Doc Kaufman, a former Rickenbacker employee. They started K & F Company and produced a series of steel guitars and amplifiers. Fender felt the pick-up magnets in use at the time need not be so large. He incorporated a new pick-up, which he wanted to try in a fingerboard. Though only meant to demonstrate the pick-up the guitar was soon in demand. 1946 saw the formation of Fender Electric Instrument Company and the introduction of the Broadcaster.

At the same time Les Paul was working in the same direction. Paul experimented with pick-ups throughout the 1930’s; he experienced feedback and resonance problems and began to think about solid body guitar after hearing about a solid body violin by Thomas Edison. Paul was convinced the only way to avoid body feedback was to reduce pick-up movement. The only way to do that was to mount it in a solid body. Paul persuaded Epiphone to let him use their workshop on Sundays, where in 1941 he built the historic “log” guitar. In 1947 Paul Bigsby in consultation with Merle Travis built a solid body electric guitar. Fender was more concerned with utility and practicality rather than looks and wanted a regular guitar with the clear sound of an electric Hawaiian but without the feedback problems. The result was the Broadcaster which he began producing in 1948 later renamed the Telecaster.

In 1954, Fender began producing the Stratocaster. Along with the Telecaster and the guitars Les Paul was designing for Gibson, they set the standard for solid body guitars.

The acoustic or classical guitar, a string instrument, is a very light-weight non-electric guitar. The sound of the acoustic guitar comes from its hollow body. It can perform a range of music from Spanish folk to orchestral concertos. It is a handsome instrument made of wood with nylon strings. It’s wide capabilities have made it on of the most important instruments in Flamenco, the folk music of Spain.

Today, guitars and their relatives are incredibly popular around the world. Acoustic guitars today are used for many different types of music. Aside from being wonderful soloists, they also make wonderful accompaniments to the voice or other instruments.

Perhaps one of the most common acoustic guitar is the classical guitar. The classical guitar’s ancestor was the gittern from medieval times. Around the 1400’s, the gittern developed into an instrument which resembled a downsized version of the modern classical guitar. This instrument first appeared in Spain. The classical guitar has changed very little since.

The acoustic guitar can be used as a melodic, soothing remedy for stress. The electric guitar can be distorted into thousands of different sounds. Although these two instruments are different they both played an important role in many different types of music.