Spotlight On - Mike Dutton

[winston]

This week’s guest artist is Mike Dutton.

Mike is a top notch blues guitarist who has played on the same stage as some of the greats. He has shared bills with the likes of Johnny Winter, Delbert McClinton, Jimmy Thackery, Bobby Radcliff and many others. He plays a style that is so smooth and in the pocket. His unique phrasing though is what caught my ear. He is a world class player and this week you’ll get to know him….up close and personal.

It’s Only Rock ‘N Roll recently caught up with Mike and put him under the spotlight.

It’s Only Rock ‘N Roll

Mike first of all let me tell you that it is an honor for me to be able to interview you for the forum. I discovered you almost by accident. You are real low key on the forum and if it were not for one or two posts that hinted at your experience I would not have followed the trail that led me to your great music.

Like you I have played guitar for many years and I believe that I know full when I run across someone who has that special touch. Mike you have it in spades. I could listen to you playing your guitar for days on end.

It’s Only Rock ‘N Roll

So let’s get on the road to discovery Mike. How old were you when you first started playing an instrument? What instrument did you play first and with whom?

Mike

Thanks, Brian, for taking an interest in an old hack like me!

I grew up around musicians as my parents had friends who played both professionally and semi-professionally. I guess that kind of laid the foundation for myself. I had tried to persuade my folks into letting me play an instrument from about the 4th grade to no avail. Finally, my mom caved and bought me a Lyle electric bass for my 13th birthday. From that moment onward, I made it a point to spend every free moment playing; I wanted to be the next Paul McCartney!

Well, after about 18 months of woodshedding, I joined my first band, Rapid Transit, with a few guys I knew from school in May of 1978. We played all the latest Rock&Roll songs of the day, all of which are now considered to be "Classic Rock". My first gig was at a 4th of July celebration in front of 3,500 people. Talk about a bad case of nerves! After that gig, I never had stage fright again. We were actually quite good and I ended up working a lot with that group.

It’s Only Rock ‘N Roll

So what made you switch to guitar? Perhaps tell us about that time in your life and what sort of gear you owned?

Mike

I think the definitive moment was when I literally sat at the feet of the legendary Muddy Waters when he played the now defunct Bayou in DC back in December of '78. I was 15 years old and had managed to convince the staff that I only wanted to see the band. Seeing as we already had bought tickets in advance, they agreed to let me in as long as I didn't drink. The only seating they had left was at a table in front of the stage which was no more than six feet from where Muddy sat.

At that time, he had with him what would go on to be known as the Legendary Blues Band with Pinetop Perkins, Bob Margolin, Jerry Portnoy, Willie "Big Eyes" Smith, Calvin "Fuzz" Jones and Luther Johnson. After that night, I knew right then and there that I wanted to be a Blues guitarist. I'll never forget it or how Muddy would look down at me with this big smirky grin and have Luther turn his back to me during his solos! Definitely a life changing event for me.

I continued to play bass, but had started teaching myself guitar in my spare time. Finally in 1982, I switched over to guitar full time, sold my bass gear and bought a '72 Telecaster and an early '70s Twin Reverb. Two years later I landed a gig as a guitarist in a band playing mostly Rock tunes but managed to persuade them to do a few Blues numbers as well. I eventually sold the Tele and had an early '80s Gibson ES-335 reissue for about a hot minute until I managed to pickup a gorgeous 1954 goldtop Les Paul at a local shop. I went through a ton of guitars during that period and eventually traded the goldtop for another ES-335......if I only knew then what I know now! I kept that guitar for a few years until I happened upon a 1961 Stratocaster in 1987 that became my #1 for 16 years.

It’s Only Rock ‘N Roll

Who do you have to thank for the inspiration, financial aid and encouragement that allowed you to continue to grow as a musician.

Mike

Well, without my mother's help I most likely never would have played. It was she who bought my first instrument and amplifier and encouraged me. As I got older and met other people, I picked up from them all that I could. Usually I was the youngest in every band I worked with and in some cases young enough to be a son to some of those cats. I still get inspired by other players and continue to learn.

I never went full time with music until about 10 years ago. Up until that point I was a commercial truck driver with a Class B endorsement and would only play on weekends. So, I basically financed all my equipment while holding down that day gig. Then back in '99, I started driving part-time while concentrating on playing guitar. I continued to do that and tour the Mid-Atlantic and deep South until I blew a disc out in my lower back in 2002. As a result, I had spinal fusion performed in April of 2003 and that was the end of my trucking days. The injury also was one of the things that factored in to my coming of the road after a 7 year stint; the second was the birth of my now 3 year old son, Paul. Now it's just music for me and although I'm not a rich man, I'm much more content in my life.

It’s Only Rock ‘N Roll

You’re first touring band. Everyone who plays as well as you do, has been in one. What sort of things did you learn from that experience that you still apply to your musical career today ?

Mike

My first taste of roadwork came in May of 1998 when I joined a Blues group out of Richmond, VA called Li'l Ronnie & The Grand Dukes. They had just released their first CD of a three record deal with indy label Planetary Records and were just taking the first steps for a tour promoting the disc. However, it wasn't until December of that year that we made our first excursion out of Virginia. That first trip was a short tour starting out in Richmond, VA then on to Myrtle Beach, SC, then to Daytona Beach, FL to play New Year's Eve and New Year's Day and finishing up in Savannah, GA on January 2,1999. That trip was a real eye opener to all the small things that need to be addressed for a tour and prepared us for every trip afterward.

I guess the one major thing that I learned was to always be prepared. That really hits home when you're playing a venue in the middle of nowhere and something goes down on you. One of my favorite sayings is "I've learned a lot from my mistakes, too bad that most have been made in public". I learned the hard way in some cases and also learned from the mistakes of others, so before I leave my house, I make certain that I have what I'll need for the gig and more.

I also learned that road life ain't all that it's cracked up to be. Although I've been to a lot of places, I can tell you very little about those cities unless we had an extended stay there. You don't know what misery is until you pack up after a gig at 2:30 AM and then drive 22 1/2 hours straight to Key West, FL or a 12 hour shot straight through to Montgomery, AL. Absolutely brutal. The upside was that we always had lodging included in our contract riders so I always had a bed in a nice hotel waiting for me when we finally arrived at our destination. Due to my days of driving for a living, I can't sleep in a moving vehicle.

I also learned that you're much more appreciated away from home than you are in your own hometown. On the road, we were treated like royalty with the promoters and club owners bending over backwards to make our time there as enjoyable as possible. Back in Richmond, we got virtually no respect and it was extremely hard to get gigs. That's when we decided that our time would be better spend as a touring act with local appearances few and far between. I finally left the Grand Dukes after a 7 year stint shortly after out last release came out in March 2005. I came away a lot wiser and a far more confident player.....plus I have a treasure trove of road stories that are down right hilarious; most aren't fit for print, though!

It’s Only Rock ‘N Roll

Mike I read somewhere that you have jammed and or played with some of the greats in the music business. Tell us about some of those times.

Mike

I have to say that I've have been a pretty fortunate individual and when I look back on the folks that I've had contact with, it's amazing. My first real "star" encounter was in 1987 when I played a gig in which Mike Love, Al Jardine and Bruce Johnston came out and ended up sitting in with us for the rest of the night. The Beach Boys had two performances scheduled at Wolf Trap and had agreed to do a promotional appearance for a local radio station between the dates. Really an odd gig as I was in a Soul review band and we ended up playing a lot of Stax and Motown material with those guys. This was shortly after Dennis's tragic death and they had Al's nephew playing drums on the tour. It was also around the time that they'd be kicked off the National Mall by James Watt for not being "family oriented" entertainment.....so they hired Wayne Newton instead! LOL

I've also had the fortune to have supported harmonica player Phil Wiggins of the acoustic duo Cephas & Wiggins on a rare electric date. I've never heard another cat get such a huge tone from a Shure SM58 and a little 8 watt Fender Champ! That was a real treat. Phil is a local DC guy. Another well known local I've played with is saxophonist Ron Holloway who spent a few years with Dizzy Gillespie and has been touring with Susan Tedeschi. Ron is a monster player and I can't believe that he'd ever agree to play with a hack like myself!

I think the biggest thrill I had musically was getting to work twice with Texas guitar master Anson Funderburgh. I met Anson in 1989 and later we had him guest on 5 tracks on the Li'l Ronnie & The Grand Dukes release "Young & Evil" in 2001. Playing with him was a real treat. Then in 2004, we were all on the same festival together when Anson approached us to produce our last CD "Do What'cha Do". Having him in the control room was a great boon to us and the recording.

Over the years I've also jammed with west coast guitarist Alex Schultz and have toured with harmonica player/singer R.J. Mischo and Blues vocalist extraordinaire John Nemeth - watch out for this guy, he's going to be huge!

It’s Only Rock ‘N Roll

What was it like to play with The Beach Boys alumni? Tell me how you felt standing there on stage “live” guitar in hand, playing music with one of the best bands that ever made it to number 1 on Billboard.

Mike

The Beach Boys gig was a blast because it was more like hanging out in your uncle's basement, getting loaded and just jamming. There were times when I'd look over at Al or Mike and think to myself, "Holy ****! I can't believe this is really happening!". The guy that I really liked most was Bruce Johnston; just a fun, personable guy who wanted to buy you drinks and play music. Bruce played with us more than either Mike or Al and sat in on bass and keys. Super nice fella!

It’s Only Rock ‘N Roll

Mike there is a band that you have been a part of that has been the recipient of a few well deserved accolades in the press and you have even won awards. Tell us about those experiences.

Mike

That band would be The Grand Dukes. We really excelled during my tenure in that group and I also brought in a number of caliber players to take the band to another level. One of the guys I managed to bring into the fold was drummer George Sheppard. George is a musician's musician and has been a part of a number of well known recordings, two of which are "Burning Down the House" by Talking Heads and "Cliffs of Dover" by Eric Johnson. George has also worked with Smokin' Joe Kubek & B'nois King, Dizzy Gillespie, Oscar Peterson, Jeff Beck and many others. A fabulous drummer that I still work with today and one of my best friends.

I also brought into the fold another of my very best friends, bass player Tommy Hannigan, a native Texan who I'd played with in a number of groups. That rhythm section really gave us a great foundation to build from. Like they say, "you're only as good as your rhythm section".

When "Do What'cha Do" was released, it debuted at #15 on the Living Blues Top 25 in May 2005 and managed chart for another two months. Then at the end of 2005, the CD made the Living Blues Top 100 for 2005 charts placing at #94 for the year. "DWD" also placed at #8 for 2005 in Canada's Real Blues Top 100 charts. We narrowly missed having enough votes to be included on the ballot for the W.C.Handy Awards - the Blues equal of a Grammy.

The year that we really took it up another notch was 2004. That year we won the award for "Best Blues Artist - 2004" at the 5th Annual Virginia Music Awards. We were also the recipients of a reader's poll award from Real Blues magazine for "Best Blues Band - East Coast, 2004". Really kind of cool as we'd never played Canada.

It’s Only Rock ‘N Roll

Mike, I understand from reading the credits on your music that you are a writer as well as a guitar player. Tell us how you get your inspiration and the process that you go through to write a song that meets your exacting standards.

Mike

Hmmm........well, usually I get an idea for a melody first. Most of the time it'll come out of nowhere and this really drives my wife nuts because I'll just start humming a line off the top of my head. Then I'll work on subject matter. For "Do What'cha Do", I had wanted to make a modern Blues recording but with a retro feel, so most of that material were nods to the guys who had inspired us in the genre.

Once I had a rough draft, I'd call George over and we'd sit down and work out tempo and feel. This actually came fairly easy and we got a lot done in a short amount of time. Once we had the foundation, we'd assemble the band - which was quite a chore seeing as how we were scattered from Maryland to DC to Richmond, VA - and we'd rehearse the arrangements. The recording was done over three days and is for the most part live and no more than two takes. There are a few guitar dubs but I wanted to limit them to as few as possible.My vocal tracks are also what would be called "scratch tracks" but Anson felt that they were good enough to be used, so we kept them.

However, I think I'm at my best when working as a sideman on someone else's project. Some of the best guitar parts I've ever come up with were when The Shambells were preparing to record. Unfortunately, the band dissolved before we got that opportunity.

It’s Only Rock ‘N Roll

Tell us all about your gear. What is your go to line up for guitars and equipment for a gig in a small venue and also in a large venue?

Mike

I look at my gear as being tools and nothing more. If I have something that I'm no longer using, I'll sell it rather than have it sit unused. I'd rather someone else get the satisfaction of playing it and it's good for the guitar or amp to be used regularly anyway.

I'm pretty simple when it comes to what I buy or use. My main guitar for the last 18 months is a fabulous 2004 Gibson Historic '59 Les Paul reissue that I found in Tokyo via the internet. This is the guitar that I'd been looking for for close to 20 years. There's just something really special about this one that the others that I've had just didn't have. I'll never part with it. I also have a 2001 Historic '56 Les Paul reissue that I've outfitted with original 1955 electronics; this one was my main touring guitar for the last 3 years of my stint with LRGD and was my guitar of choice for recording. I also own an Historic '59 ES-335 reissue from 2007 and a 1997 Cunetto relic Strat that was one of two guitars made for the Summer NAMM show of '97.

And then there are the two Rickenbackers - a rare factory single mono 360/12V64 from 1988 and a 2007 360/12C63, both of which are Fireglo. I love the sound of a Rick 12 string, unfortunately I don't have a gig to play them on at the moment. The Rick was something that I'd introduced into the sound of The Shambells. Dave Goodfriend, our chief tunesmith and rhythm guitarist, had been writing a number of Power Pop tunes that when I heard them I instantly thought that a 12 string would really make them shine. So, I went out and found the V64 and a month later picked up the C63. I can honestly say that in the years I've been playing live, no guitar has received the reaction that the Ricks have when people saw them and heard them. The songs that I used them for became instant favorites among our fan base and I believe that I was one of the very few in the DC/Baltimore region who used one on a regular basis.

Amps....I'm pretty easy. Most of mine are Fenders. My 1966 Deluxe Reverb is my workhorse, but on the road I used a 1959 tweed Deluxe in almost every situation. The '59 has had a slight mod in that I've replaced the stock 6V6 power tubes with 6L6s, swapped out the tube rectofier in favor of a Weber S/S copper cap unit and upgraded the speaker with a vintage Jensen P12-N - this amp will peel paint off the walls and literally blew a 30 watt Selmer Scorpion out of the water on a tour a few years back. I also own a 1966 Fender Super Reverb, a 1995 American made tweed Pro Jr. and a Marshall 1974X Handwired 18 watt "baby Bluesbreaker" and matching 1x12" cabinet. I prefer to use lower powered amps so that I can get a natural overdrive from the tubes being pushed. With most sound systems these days, you can virtually use any amp you want in a larger setting, although I'll haul along the Super Reverb for outdoor dates.

I also rekindled my love of the bass back in April of last year. I own a 2007 Hofner 500/1 V63 and a Lakland Skyline Joe Osborn signature model....had a great 4001C64 and like a fool, sold it off in October - instant seller's remorse. I'm looking for another as we speak! I run the basses through an older Gallien-Krueger 800RB and a Bag End S15-D cabinet.

Not too much into pedals but I do like to use an Xotic RC Booster and occasionally will use an Xotic AC Booster for a gritter tone. The RC Booster is a pure clean boost and in my opinion the best one on the market today. The AC Booster is an overdrive pedal that is voiced like the top boost section of a Vox AC30 and has a very smooth and creamy tone. I also use my reissue Fender '63 Reverb tank when running through the '59 Deluxe.

For guitar strings, I've been using Snake Oil Brand Original Nickels for the last 4 years. I prefer a medium gauge .011-.048 tuned to standard pitch. On the 12 strings, it's regular Rick factory strings and the basses all get Thomastik-Infeld Jazz Flats.

It’s Only Rock ‘N Roll

Let’s fast forward now to 2006. Who were you playing with and what was the bands connection to Motown?

Mike

There are actually two answers to the Motown connection.

One would be the band The Shambells. The Shambells were an old school Rock band that took a lot of inspiration from The Faces and Humble Pie. We had influences of Alt. Country, '60s Garage Rock, '70s Hard Rock and Blues as well. The band had formed in 2004 with former Nighthawks guitarist Pete Kanaras on lead guitar, Tommy Hannigan on bass, Dave Goodfriend on rhythm guitar, Russ Beeker on vocals and Nick Ruggieri on drums. All were seasoned players with many years experience behind them.

Nick left the band about 5 months later and was replaced by Clark Matthews; a veteran of such bands as Bob Margolin, Tom Principato, Blues legend Carey Bell and many others. In 2005, the new line up recorded the lone CD the group would release, "Exit Wounds", which was mastered by the legendary Bob Ohlsson of Motown Records fame.

In December 2005, I got a call from Tommy asking if I'd be interested in replacing Pete, who was getting the jones to travel again. I thought long and hard about it as I hadn't been in a Rock band since the '80s and finally agreed in January of 2006. While the band already had a pretty raw sound, I brought a new sound into the material that was much more from a Rock mindset and not so much from the Blues as Pete had been. The result was an edgier sound that seemed to be very well received by the fan base.

As I grew more confident, I began to really push it a little harder with more over the top playing on some songs and started to make suggestions about arrangements. This was when I introduced the idea of the Rickenbacker. Upon the first rehearsals with the Rick in tow, it was like we'd all been hit by a bolt of lightning; Dave even went as far as to declare it the "sixth Shambell"!

Unfortunately all good thing must end and we finally pulled the plug in June of 2007 due to internal issues. A shame really, as we were just starting to take it to another level. The saddest part is that we never got to record the follow up disc with all the material that I'd worked the 12 string into. I was just talking with Dave about this the other day and he shares the same feeling. It now looks like we'll record these songs so that he can shop them to others to record.

The second Motown connection is my gig with Catfish Hodge. 'Fish is from Detroit and came out of that same scene in the late '60s as Mitch Ryder (he owns Jim McCartey's Strat that "Sock it To Me" was recorded with), Iggy Pop, Bob Seger and the MC5. He grew up hanging outside the Motown's Hitsville studios listening to folks like the Temps,Tops and Marvin Gaye record tracks.

Bob "Catfish" Hodge first came to fame with the band Catfish in 1968 or 1969. They were a national act signed to a major label - Epic Records - and played venues such as the fabled Fillmore West. Later he became a solo act and had such luminaries as James Cotton, Bonnie Raitt, T. Lavitz and Freebo guest on his recordings and became a friend and honorary member of the original Little Feat. Then after the passing of Lowell George, 'Fish stepped in and fronted the band in what would then be called Chicken Legs. After Chicken Legs had run it's course, he and Paul Barrere formed the Bluesbusters and played together until the reformation of Little Feat with Craig Fuller.

I got a call from Catfish in March of 2001 to do a few pickup dates. I didn't hear from him again until a few months later when he offered me every date that he had on the books. I've been playing with him ever since. We work regularly in various formats and I have developed a very close relationship with him. I feel extremely fortunate to have been asked to work with him and he's been a great inspiration and influence.

It’s Only Rock ‘N Roll

Tell me about the playing styles that you have mastered and the process that you used to learn them.

Mike

Honestly, I wouldn't say that I've "mastered" any style, but I can cover a lot of stylistic territory. At heart, I'm a Blues player and as a result use the Blues as a starting point. I'm also a pretty good Funk player having grown up on a steady diet of Urban music here in DC; I was a huge fan of the Ohio Players as a kid and we have our own homegrown brand here, Go-Go, that was founded by the great Chuck Brown. Jimmy Nolan's work with James Brown was also a big influence on my playing and I love Steve Cropper.

I can also play old Honky Tonk stuff - Don Rich is one of my faves. I enjoy playing Roots music and I'm an OK flatpicker; I'm no Clarence White or Doc Watson yet, but try and work at it when I can. I'm also a fan of the west coast Jump Blues guys like Tiny Grimes and Bill Jennings as well as the new crop of players like Junior Watson, Dave "Kid" Ramos and Alex Schultz.

I'm completely self taught, probably like most people our age. My main sources of learning were LPs and cassettes and I still learn that way except I'm using CDs now; I don't even own an iPod and my cell phone is just a phone....guess I'm still a lower level primate after all!

It’s Only Rock ‘N Roll

Your love of Rickenbacker 12 string guitars, how did that begin? Tell us if you believe that it has made a difference in your music.

Mike

I fell in love with the sound of a Rick 12 string probably the same way most of us here at the RRF did - through the records of The Byrds and The Beatles. The first time I heard "Mr. Tamborine Man", it was like magic. Then when I'd noticed that George Harrison got that same sound I started looking to find out what it was. Later, I came to listen to Mike Campbell and Tom Petty. To me, there only one electric 12 string guitar and that's the Rickenbacker; all others don't even come close.

The thing that really made a difference with the Rick is the way that I thought about guitar parts. I found that I was coming up with open string melody lines and hooks that I probably wouldn't have discovered on a six string. Soloing also took on a different approach, using drone notes and more glissandi rather than bent notes. I'm also working out of arpeggiated chords more as well. Really refreshing!

It’s Only Rock ‘N Roll

Has the blues community accepted the fact that you play a Rickenbacker?

Mike

LOL! Well, my buddy Pete Kanaras has been busting my chops about playing some Robert Lockwood stuff on it, but that's just not me.... mainly because I'm too clumsy to play with fingerpicks. I think that a lot of the hard core fans don't even know that I own a Rick, but there was a thread started in the chat room of the Baltimore Blues Society about my playing it with The Shambells. The response was very positive and the original poster absolutely loved the sound; although he did refer to it as "one of those Eddie Rickenbacker guitars"..LOL!

It’s Only Rock ‘N Roll

Tell me about your biggest thrill since you became a professional musician.

Mike

There have been quite a few actually. The Beach Boys thing was very hip to say the least. I've also met and hung out with a few pretty well known folks over the years. There's been some good times, like drinking beer after the show with Delbert McClinton one night in Baltimore. Del's a really good joe and was a lot of fun to tip a few with. He's since sobered up, but man was he a riot when he had a buzz going!

I also was on a gig one night with Catfish Hodge when my good friend, poet T.R. Hummer, was in town for a Congressional poetry contest. Terry brought along his good pal, poet Yusef Komunyakka, who was the recipient of the 1994 Pulitzer Prize for Poetry. Terry was our sax player in the Grand Dukes and brought his horn with him, so we had him sit in with us and the house sax player. We were playing a very tight Funk groove when Yusef got on the mic and started busting out some free-verse poetry ala Gil Scott-Heron! That was a total gas!

There was also the night I sat back stage with legendary New Orleans Blues man Earl King ( writer of "Come On" made famous by Jimi Hendrix) while we were awaiting to play our respective sets. Earl started expounding on the virtues of peyote and "out of body experience" and had everyone in the green room in stitches from laughter. You haven't heard a good acid trip story until it's been told in a New Orleanian accent by a premier Blues player in his late 60s!

However, my biggest thrill in this lifetime has to be meeting and hanging out with the one and only Albert King, which occured in December of 1991. Albert was playing at The Birchmere in Alexandria and I had to go, having never seen him and being a huge fan. He did two shows that night and just before the second set, I made my way over to the green room door with my copy of "Live Wire/Blues Power" tucked under my arm with the hope that I could get him to sign it.

While I was waiting, the stage hand working the door decided that he was going to show me just who the boss was and told me that I should go back to my seat, sit down and shut up or he'd throw me out of the club. As this was happening, the band came out of the dressing room and Albert saw all this going down. So, I went back to me seat i front of the bandstand when over walks Albert and says to me, " What's the matter, little brother?"

I tell him the situation and how I just wanted him to sign my LP when he asks, " You gonna be here for this set?" I tell him absolutely to which he replied, " Well, you come on over to the end of the stage after the last song and you can come back with me and hang out for as long as you wanna!"

I thought that I'd died and gone to Heaven! At the set's end, I went over to the stage and Albert handed my Lucy, his Flying V, and then rested his huge hand on my shoulder. He hadn't been feeling well and it showed in his face. We went back stage and talked about a number of things from his tenure at Stax, to his gear, to good barbeque and the then recent passing of Stevie Ray Vaughan which had just been a little over a year at that point. I'd been invited to go back to the hotel but had to pass as I had to be at work the next AM at 7 o'clock.........should have gone anyway.

Sadly about a year later, Albert suffered a massive heart attack and passed. With out a doubt one of the greatest nights of my life.

It’s Only Rock ‘N Roll

Was Albert King as commanding a personality in real life as he appeared in the media?

Mike

Well, I'd always heard that he could be very gruff but he was nothing short of a real prince to me - very fatherly, really. He was a huge man and would definitely commanded your attention when he was in the room. I can only imagine what he was like in his prime!

It’s Only Rock ‘N Roll

Tell us about Mick Fleetwood. Rumour has it (no pun intended) (Ok I admit it, it’s a good one though?) that he is a very down to earth fellow and that given a chance he’ll talk your ear off he will. Was that your experience.

Mike

I met Mick Fleetwood in 1994 when my then band was invited to audition for a roster spot at his new Blues venue, Fleetwood's, in Alexandria. After we'd played our set, Mick came to me and said, " Man....really great lead guitar, man! Loved it!"

Being a big fan of the original Fleetwood Mac, I thanked him and told him that his compliment meant quite a lot to me seeing as how he'd played with one of the greatest ever, IMHO. I ribbed him about his role in the film "Running Man" from which he got a big kick out of and then we sat and talked about everything from Peter Green, the original Mac and why he choose Alexandria as a place for his club. We chatted for 45 minutes and I can tell you that Mick was one of the most unaffected, down to Earth people that I've ever had the pleasure to meet. Great guy with a great sense of humor and of course a monster player!

It’s Only Rock ‘N Roll

Who are your heroes Mike and why?

Mike

Heroes........I wouldn't say that I have any real heroes per se, but there are those that have made a major impact on me that I have complete respect for.

At the top of that list would be The Beatles because without them and the influence they had on me in my formative years, I never would have been inspired to play music. I alway wanted to be John but it was Paul's bass playing that fired something inside of me. It was his playing that also brought back my interest in playing the bass again.

Muddy Waters would have to be included due to the fact that seeing him was a life changing moment for me. It was was first taste of real Blues and it moved me to my core. I would also have to mention Little Walter Jacobs for his sheer inventive approach to the Blues; certainly a "hero" to me musically.

Jimmie Vaughan is another guy that I admire and was thrilled to meet. Jimmie's playing with the Fabulous Thunderbirds made me realise that there were white guys just like me out there who could play with the conviction and authenticity of the second generation Blues men. His influence on my playing is tremendous, especially in turning a phrase. It was through him that I learn of all the great Gulf Coast Blues artists and a number of rather obscure ones as well.

Cafish Hodge is a mentor and an huge inspiration to me. He's taught me the value of being a working musician and has never stopped pushing me to be the best that I can be. He's also like a surrogate father to me and I feel lucky to have him in my life.

It’s Only Rock ‘N Roll

What advice do you have for those who want to discover the blues?

Mike

Dig deep; don't just tap the surface. There is so much amazing material out there if you just look for it. Find something that moves you and run with it. For me, I discovered the Blues through records by the likes of The Stones,John Mayall and The Animals. By reading the songwriter credits, that lead me to find Muddy Waters, Howlin' Wolf, Lightnin' Hopkins, Slim Harpo, Robert Nighthawk, Little Walter, Magic Sam and so many more. I have a sick collect of Blues recordings and the more that you expose yourself to, the larger vocabulary you'll have as a player. The main reason I work as much as I do is due to the fact that I can play many different styles of the Blues from low down "ig'nert" electric stuff, to Lightinin' Hopkins style acoustic to west coast Jump and everything in between. Versitility can be your biggest asset next to being easy to work with.

Also, borrow what you learn and take the sum of your knowledge and develope your own style. Trying to imitate your idols won't get you very far. As JImmie Vaughan said, "Style is everything, man!" What makes the greats so great is that they all have their own signature sound, that's what attracts us to listen to them. Forge your own identity and influence someone else.

It’s Only Rock ‘N Roll

Where can we listen to and then go to buy your music?

Mike

If you listen to XM Radio 74, you'll catch some of my stuff every so often. Can't tell you weird it is to hear yourself on the radio at 2 AM in the middle of nowhere!LOL I'll also get occasional airplay on a few net radio stations and on most of the national stations that carry Blues programming.

I also have audio up on my MySpace page for listening - http://www.myspace.com/michaelduttonmusic. Two tracks are live board mixes with The Shambells and the other 4 are pulled from "Do What'cha Do". This page also has a number of photographs with a few of the folks I've had the pleasure to have worked with or shared bills with over the years.

I have more tracks from "Do What'cha Do" posted on SoundClick.com as well. These are for listening only and are not downloadable....reason being something that's way too complicated to get into here.

http://www.soundclick.com/bands/default ... dID=768884

As for buying, you can find some of my work through Amazon.com, CDBaby and through sites such as Pacific Blues Recording Company and Blue Beat Records. You should be able to find both of my Grand Dukes CDs there. There is also a Catfish Hodge recording available called "Communication" that is our set from the Great Eastern Blues Festival of 2004. That one is only available through his website at http://www.catfishpond.com.

It’s Only Rock ‘N Roll

On behalf of It’s Only Rock ‘N Roll and The Rickresource forum I would like to thank you Mike for participating in this most enjoyable interview.

As a result I feel (as I am sure others do as well), that we know a lot more about you and your incredible journey as a professional musician.

[ozover50]

WOW...... what a great read!! Great interview, Brian and Mike....... now I have to work half an hour extra today to make up for it!

Mike: For a start may I ask you what the difference in 'feel' is between the V64 and C63? And sound, for that matter.

[peewee]

Thank you, Aitch, and let me say thanks to Brian for even having an interest in me for the interview. I thought that I had corrected all the typos I'd made but that's not the case; see what happens when you try to answer questions on 2 hours of sleep?

The feel and tone between the two 360/12s is very noticeable. The '88 V64, being the first real attempt at reproducing the vintage guitars, has the hotter toasters - I think mine measure ~ 12K ohms. The neck also has a 10" crown radius, so it's actually flatter than the original 360/12 from the early days. The bracing is also more "modern" in construction. That said, it's a great playing and sounding guitar but needs a little work. I bought it used and the former owner wasn't exactly gentle with it and as a result it needs a reset of the neck. It's still very playable but the neck angle is pitched. I've been wanting to send it off to Dale for a while now, but just haven't been able to put the money together.


The new C63 is my favorite of the two. This one is very vintage accurate from the scatter wound toasters and 7.5" crown radius and the bracing design. It's a very full sounding guitar and really produces that classic early Rick 12 tone. The tone is more chimey sounding and very clear as where the V64 is a bit more aggressive sounding. I believe there's a difference in body thickness between the two as well, with the C63 being a tad thicker.

[charlyg]

What a great interview!! I am of course very jealous, as I only have about 5 years of heavy listening and studying behind me. I am trying to make up for lost time.

Kudos on the interview, and high praise to Mike for letting us have a glimpse into the life of a pro!

[winston]

Mike,

The pleasure was all mine I assure you, after all I am the one that is left with the feeling that I have discovered buried treasure, right here on our forum.

[bosco64]

I guess that I'm very fortunate that my wife and I have seen Mike play with the Shambells and with Catfish Hodge on a couple occasions. When he played his 360 12C63 live withthe Shambells, it sounded sooooo good, it really cut through the mix with plently of jangle to spare. I was there when he bought his C63, and it was love at first sight. We are going to see him again in a couple of weeks and my wife and I really treasure his warmth and friendship. Don't let him fool you Brian, Mike is an excellent player, and I am honored to be his friend. Keep on rockin' PeeWee!!!

[peewee]

Ron, talk like that will only result in me getting you nice and liquored up!

Thanks for the very nice words and the feeling is mutual, my friend! See you and Cindy in the coming week.

[charlyg]

Who's this Mike guy again?

[winston]

I am honored to be his friend.

Hey Ron,

I had no idea that you know Mike. Now I feel that I know him even better. Don't worry about him fooling me by being so humble about his ablities etc. As I dug deeper behind the scenes, his talent and experience jumped out at me and bowled me over.

Btw. How many other friends of this calibre do you have that I should know about?

Good one Charly!!!

[peewee]

Brian, Ron and I met through the RIC forum when I was looking to buy my first Rickenbacker guitar. Since then I've badgered him with so many questions regarding his basses that's it's amazing that he still even talks to me! I actually bought my C63 from his wife who's the manager of a shop in Gainesville, VA - I saw that they were getting one from the factory that was unaccounted for and made an inquiry about 5 days before it showed up on February 14th..... best Valentine's gift I ever bought for myself!

Ron and his wife Cindy are great folks that I always enjoy seeing.

[ozover50]

Mike: I note from the interview that you taught yourself to play guitar....... so you had no formal training? If that's the case, did your experience playing bass help?

[peewee]

Mike: I note from the interview that you taught yourself to play guitar....... so you had no formal training? If that's the case, did your experience playing bass help?

Aitch, starting as a bass player definitely helped in my progression as a guitarist. It also helped me become a better rhythm player and developed my sense of time. To this day I find myself at a loss if I can't lock with the drummer and it makes for a miserable gig.

Another thing that kind of makes me a bit odd as a guitarist is that I love to play in flat keys, like a horn player would. My favorite keys to play in are Bb/A#, Db/C#, Ab/G# and F natural. Sometimes punishing for an upright bass player but the horn and keys guys love me for it!

I just started a weekly gig last night where the instrumentation is piano, drums and guitar. I'm drawing a lot from my bass playing experience by playing single note lines in the lower registers on a number of songs while adding chords in certain spots. We're playing a lot of Jump, Boogie Woogie and Rhythm music and also laying down a few slow Blues. We're using an upright piano, brushes on the drums and I'm running a small amp at low volume. The pianist is Mark Stevens, formerly of Roomful of Blues and Kim Wilson's Blues Review, who is a monster talent and my good buddy George Sheppard on drums. Totally fun gig and we're generating a lot of buzz! The name of the group is The Cheverly Boys.

[ozover50]

Thanks, Mike. Glad you're enjoying your latest gig.

I've noticed that blues music seems to attract flay keys. For instance, T-Bone Walker's 'Stormy Monday' is in Ab and I've found a couple recently that are in Eb...... I tune down for those ones!

[8mileshigher]

Great interview. Really enjoyed it.
Regards - Rich F.

[tamborineman]

Mike, most interesting!
Love to jam one of these days. Since so many of the old guys are gone, it's good to see you carry on the traditions. And thanks for laughing at my jokes.