Well, I started going to blues clubs when I was in college and was really amazed by the harmonica. The first band I saw, Mona Lott and the Lovedogs, had a harp player and I just couldn’t believe the sound that came from that little instrument and that amplifier; I was hooked! It was like a sax or a horn section at times and besides that, nobody really plays the harp, ya know? Everyone wants to be a guitar player! So, I guess because the harmonica was different and the music was always a part of my life, I just gravitated to that. I’ve said before in interviews, ‘I didn’t choose the blues, it chose me!’ I could make a lot more money playing classic rock or, God forbid, DISCO, but my soul would commit suicide. I have always been different and I hate authority. I do things my way and in my time, so the blues is just my way of saying kiss my A$$!!

For the record, I don’t think I’ll ever stop learning and this is a funny story, really. Steve Menz, the harp player from Mona Lott, introduced me to a certain harmonica player from Syracuse who had actually showed up at a Mona Lott gig because the club had double-booked. This guy comes in carrying an amp and he was huge, so I figured he must be a roady or something. I didn’t know any better - a roady in a blues band - that’s laughable! Anyway, I asked him if he was a roady for the band and he looked down at me and with this kinda laugh said, "No I don’t think so." Mona Lott and the band show up a short time later and got things settled. This poor guy and his band had driven to The Amsterdam in Johnson City from Syracuse and found out they were playing the following week. After the gig, Steve told me that the guy who was there was this great harp player who wrote for Blues Revue Magazine. He knew all these famous Blues players and thought I should come down in a week to hear him. I’d only seen Steve play and didn’t really know how anyone could be better, but figured what the hell? So, I went the next week and was introduced to this big harp player who had a rough copy of his first CD. He asked me if I wanted to check it out on break. So, his band from Syracuse takes the stage and he tore the place up! I was shocked! Swing blues, West Coast style harp driven blues that was played with this attitude like he was born with the thing in his hand! Break came along and we went out and smoked and drank bourbon out of a flask and listened to his disc. I found out that "Mr. Syracuse" gave lessons and he said all I had to do was drive up there. He gave me a card and said to call him.

It took me about two months to get up the nerve to call, but I did and went up there twice a month for a long time. I’d go up and get pointers. He showed me certain licks, but basically I would just ask a lot of questions and play through many of his 40 vintage amps. Hell, he even gave me a vintage Silvertone to borrow because I didn’t even have an amp at the time! I’d drive up to Syracuse on a Sunday afternoon and play a little and then we’d go to a radio studio where he hosts "Sunday Night Blues" on Jazz 88. He would also interview some cool people while they were in town. That’s how I met Charlie Musselwhite, Rick Estrin, Charlie Baty, Long John Hunter…lots of legends and very cool people. After we’d get done there, we’d go to a Blues jam on South Salina Street and play till 1am. It was some of the most fun I’ve had musically. Mr. Syracuse is TOM TOWNSLEY and he changed my life forever. Tom never steered me in any one direction; he let me find my own way and he didn’t just teach me about the harp, he taught me about the blues. He would have me sit in all the time. Wherever he was playing, he would call me up to the stage and, at the time, I didn’t know much about the harp, but the people would react. When I was done, there would be people buying me drinks and attention from the… let’s just say I had fun. Tom also introduced me to Rod Piazza and that introduction pushed me in a new direction.

The first time I played with Rod I was nervous. We played "Good Morning Little Schoolgirl" and I remember standing next to him trading licks and just thinking HOLY SHIT! I couldn’t believe I was sharing the stage with him and his fine band. To top it all off, Tom and Steve were both in the audience. When we were done, I said to Rod, "This must be what a preacher feels like when he dies and goes to heaven and stands next to God." He gave me a microphone that night and said, "If you play through my amp, (The HarpKing) you got to use one of my microphones." Rod has been a cool guy - always generous with his time and knowledge. He has me sit in with him every time I see him. He says I’m not so shy anymore! We always have fun and laugh about some old stories.

Hohner Marine Bands because they’re tried and true, Little Walter used ‘em! I also use

Hohner chromatics, the Super 64 and the 270 Chromonica.

I use the HarpKing, which Rod Piazza designed. It has 6-10" speakers and it’s 100 watts RMS. It took me almost a year to get but it was handmade by one guy. It was worth the wait! I also use a mic that Rod gave me a couple years ago. I have a 1959 Silvertone 1432 that I bring out once in a while, but that’s only for small gigs. It’s a little tone machine! Only one 12" speaker. I looked for one for almost 2 years and found this one in Georgia. It’s in MINT condition. I have a few other mics and amps too, all from the ‘50’s or early 60’s.

Rock Bottom has a song, " You Gotta Live It Before You Can Give It." Well, I love it, I live it and I wouldn’t change it for the world. It’s a hard road to travel but hell, at least I’m drivin’!

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