BOZ TALKS: 1974
"Playing a concert with Steve's band was a reunion of sorts," smiled
Scaggs. "I started playing guitar when I was about sixteen years old
because I wanted to be a musician, you know, and hang out and stuff.
Some of my friends taught me how to play and Steve was one of those
friends. He had been playing for a few years so he became my
mentor. We played throughout high school and college and then I left
for a stay in Europe. I came back, joined the first Steve Miller
Band and cut two albums with him. It was really crazy because I was
really unfamiliar with the rock scene in America in the late sixties,
being in Europe for a couple of years. I came back with Steve and
here we were tossed into the middle of this whole psychedelic scene!"
Boz grinned sheepishly, "I left that to do solo work and knock about
on my own, but Steve and I are still real close. We play together
once or twice a week...golf and dominoes. I beat him at golf, he
kills me in dominoes."
BOZ TALKS: A RECORD THAT CHANGED MY LIFE
"WE ALL HAVE those moments when you hear a record and time seems to
I grew up in north Texas and there was a late-night radio show five
nights a week that played R&B, primitive and modern.
One night, they played T-Bone's 'Blues For Marili'. When I heard
that for the first time, it was the music I'd been waiting for all
my life. It was the attitude and the sound of that guitar, sort of
an extended guitar solo piece. So I went out, found that record and
went about learning to play everything on there. It sounded easy
enough because it was very basic and simple, but in order to get
that expression, well, I'm still working on that.
So many people talk about BB King as being one of the seminal
figures of electric blues guitar. And what he's done is enormous.
They talk about the way he uses the guitar to punctuate his vocals
and him being the innovator of that, but we all know that it was T-
Bone who really defined blues electric guitar. He sort of invented
that string-bending style, as far as I know. I still go back to this
I got the anthology a few years ago [1995's Complete Capitol
Recordings] and as I settle into that handful of guitar players I
really admire (like Jimmie Vaughan, for instance), they're still
playing the licks from that record. It's part of their vocabulary
and indispensable for any Texas guitar player. I still have to smile
to myself each time I hear one of those subtle riffs, because
there's only one place they come from.
I made a record called Come On Home  and one of the songs I
wrote was 'After Hours'. It was the simplest piece of music I
could've put down - an eight-bar progression with one pass of guitar
over it - but listening back, it was reminiscent of how my
interpretation of T-Bone had evolved. It was similar in mood
to 'Blues For Marili' and just came out spontaneously. Some things,
you don't know where they come from, but they're already in us. It
just needs something to awaken it."
- UNCUT MAGAZINE
BOZ TALKS: COME ON HOME
"I remember hearing (T-Bone Walker's) `T-Bone Shuffle' (as a youth) as I was
driving away from my school on a Tuesday or Wednesday night. I was listening
to a radio station that played this kind of stuff and it came on. Something inside
of me stirred. There was something that I heard that was a clue about what I would
be doing later on. In choosing this material, we considered thousands of titles.
We ultimately put down a list of hundreds, and I actually made demos of 40 to
50 songs. I couldn't sing some of these songs, so it became a matter of the ones
I could sing as well as the ones I like. It was very difficult for me. It should have
been easy as pie, but I found myself tortured over what I could do to lend myself
to that genre. It was really difficult to come up with pieces that I could hold up to
Jimmy Reed or Bobby `Blue' Bland much harder than writing a typical solo album.
One of the challenges was to bring these songs into the '90s sonically. So much of
the abmbience or the atmosphere of these songs had to do with the primitive recording
technique people used, and you have to bring it into the modern age, but not lose that atmosphere."