Will it be tube or solid-state?
That’s one thing we’re working
out. I lean toward the tubes,
because the sound is so much
more incredible. But I’m not
afraid to try solid-state.
Do you think the signature
amp will have a distortion
channel?
Man ... [laughs] I usually use
clean. But you did say some-
thing important, though … I
better not take that feature out
of my new amp.
I was trying to prove a point
[on the first one], like, “Here’s
what I can do.” I love that ver-
sion, because I surprised myself
on it. I was like, “Man, is that
me playing that?” But it wasn’t
very tender. This version recap-
tures the romantic side of that
wonderful song. I was trying
to do a more romantic version
based on the Johnny Smith ver-
sion. He’s one of my favorite
players. Wes and I used to talk
about him all the time—how
beautifully he played and the
tuning down to D, which he
made popular back then.
When you tune down to D
and play the fast runs, do
you adjust your fingerings for
notes on the low E string or
do you just avoid that string?
If you make a mistake, baby,
you’re in the wrong place
[laughs]. It really doesn’t upset
the harmony too much, but you
turn a major chord into a blues
chord if you don’t watch it.
What prompted you to
record Stevie Wonder’s “My
Cherie Amour”?
I did it because I promised
Stevie I would. He had heard
me sing it once and he said,
“You gotta record that George.
You must record that.” I kept
my promise.
Guitar Man starts off with
“Tenderly,” which you also
recorded on the 1989 album
of the same name. Both are
solo-guitar renditions, but the
older version was a minute
longer and a bit flashier than
this new one.
I was trying to prove a point [on the 1989 version
of “Tenderly”], like,“Here’s what I can do.” But it
wasn’t very tender. This [new] version recaptures
the romantic side of that wonderful song.
