that allowed him to explore everything
from hardcore country to gospel and blues.
When it came time to write music for his
latest effort, Guitar Slinger, Gill knew that,
in the end, he was at the mercy of the
songs. “I was thrilled that the first song
that I wrote after that project was ‘The
Old Lucky Diamond Motel.’ It’s a real neat
story song, kind of Americana,” remembers
Gill. “I finished it and then looked back
at the last record and said, ‘Wow, that’s a
relief. It’s nothing like anything on the last
record.’ It gave me a really good jumping
off point and I think, more than anything,
that I am so much more interested in the
songs these days and what they are and
what they’re about than anything else.”
Even though the album title brings to
mind finger-busting licks, Gill demonstrates
the restraint and well-developed sense of
taste that he’s known for. “The songs lead
me to play more guitar, or be more country,
or rock harder,” states Gill. We catch up
with Gill to discuss vintage guitars, balanc-
ing the roles of a songwriter and guitarist,
working with your heroes, and if he would
ever work with a band again.
Did the title for the album come about
while you were writing the material, or
did you already have it in mind?
The idea for the album title came from my
manager, Larry Fitzgerald, who I’ve been
working with for 28 years. As he listened
to the record he said, “There is something
different about your playing. It just sounds
completely free on this record. Generally,
you would drift towards a solo in the middle
and that would be about it. These songs have
like two-minute jams on the end. You are
really blowing it up, so I think you should
call this record Guitar Slinger.” At first, that
song wasn’t going to be on the record. I
said, “Well, if we don’t put that song on the
record, that doesn’t make a lot of sense.” I
like that it had a sense of humor in it. It’s
poking fun of Amy [Grant], and poking fun
at me losing all that stuff in the flood last
year. I like the sense of humor in that song.
You really let loose on some of these tracks.
I guess it’s more guitar than usual for about
half of the record. The other half is mainly
country and story songs. Still, I had a blast
playing a little more than usual.
“Threaten Me With Heaven” has one of
the most powerful solos on the album.
I felt like the power of that song needed
that kind of angst in it. Not a choir-like
thing, but with those background singers
it sounds like arena rock to me. I’m always
trying to play what’s appropriate for the
song and the arrangement, so that’s the
“I did get to play Duane Allman’s ’ 57 goldtop a few months ago, and it was one of the highlights of my life. The sound of it was unlike any Les Paul I had ever heard,” mentions Gill, shown here with Allman’s guitar during a benefit concert in Macon, Georgia. Photo by E.J. Devokaitis
reason, to me, that it has that non-stop kind
of blitzing mentality at the end. I made this
record with Justin Niebank, who is a great
musician, and he said, “There is this one
time where you hit this two-note thing and
the bottom note almost harmonically does
something. It is so emotional.” To me, that’s
what playing is all about. It could be a subtle solo on something like “Who Wouldn’t
Fall in Love With You”—the greatness in
playing is in the subtle things that really
have emotion. You can play every lick in the
world, but if there is nothing in it that has
emotion, it’s not going to move anybody.
What guitar did you use on that?
Oh gosh, I want to say it was a Les Paul.
Mike McGuire over at Gibson has made me
a few reissues of those classic Bursts. I can’t
pull the trigger on buying a real one, as
much as I want one. There’s just no better
sound in the world than those PAF pickups
from ’59-’ 60. I probably played a ’ 59 tweed
Fender Bassman. It’s a pretty good go-to
amp. I never write any of this stuff down, I
just go in and try stuff out. I did get to play
Duane Allman’s ’ 57 goldtop a few months
ago and it was one of the highlights of my
life. The sound of it was unlike any Les
