Mike's guitar fixation started early when as a young, impressionable and short trousered lad, he was regularly treated to images of axe-wielding, Cuban-heeled manhood such as The Animals, The Troggs and The Kinks on early 60's tea-time TV shows like Five O'Clock Club and Crackerjack. Always more of a Stones fan than a Beatles follower, early favourites from the charts included the likes of 'Honky Tonk Woman' and The Who's 'I can See For Miles'.
The biggest ear-opener came in the late 60's with big brother Andrew's purchase of a John Mayall retrospective album containing tracks showcasing the talents of Eric Clapton, Peter Green and Mick Taylor. This was the first real introduction to the blues, a feast of fantastic guitar tone and tasteful and above all emotionally expressive playing.
From that point there were further explorations of the blues and the classic album 'John Mayall's Bluesbreakers with Eric Clapton' made a particularly significant impression. Inevitably and rapidly this led to Cream, Mike's all-time favourite band, especially the stunning live recordings. The John Mayall/Cream period of Eric Clapton remains a strong influence, and Mike still feels that Clapton's ability at that time to communicate through peerless tone, technique, timing, phrasing and attitude sets a standard by which others are judged.
Other influences from blues-rock soon followed, including Jimi Hendrix, Paul Kossoff, Rory Gallagher, Johnny Winter, Jeff Beck, Jimmy Page and later Gary Moore. Hours of listening to live Cream recordings instead of doing homework led to an interest in jazz and jazz-rock, including Colosseum, Focus, John McLaughlin's Mahavishnu Orchestra, Alan Holdsworth and John Etheridge. More recent favourites with a jazz approach to the blues include Robben Ford, John Scofield, Mike Stern, Larry Carlton and Matt Schofield.
Mike first acquired a guitar at about 14, a cheap and cheerful far-eastern affair commensurate in quality with his then limited purchasing power. Early efforts to imitate his heroes had to be based on playing by ear with occasional references to Bert Weedon's 'Play In A Day', although this left something to be desired when what the reader really wanted to do was emulate the 16minutes and 44seconds of majestic mayhem of Cream's 'Spoonful' recorded live at the Fillmore East.
By the end of his school days various efforts to form a band with brother Andrew on drums had to end and, with more practical considerations at hand for both of them, musical ambitions were put on hold.
After some years, Mike picked up a guitar again and began a period of noodling at home for his own amusement.
Eventually, looking around for a focus for his mid-life crisis, he decided to buy the guitar he'd always promised himself and an amp full of those funny, old-fashioned valve things and try to complete that 'unfinished business' started in his misspent youth.
Gear:
PRS Custom 24 in Dark Cherry Sunburst
Gibson ES335 in Vintage Sunburst
Gibson Les Paul Studio in Wine Red
Fender Deluxe American Stratocaster in Tobacco Sunburst
Mesa Lone Star Special 1 x 12 combo
Marshall TSL601 1 x 12 combo
Voodoo Labs Sparkle Drive
Jim Dunlop Cry Baby Wah Wah
Korg Pitch Black tuner
Boss GT8
