![]() I’ve been told by a lot of people that I should put the Ernie Ball electrics on that, but I like the acoustics on it better. The resonator I take out with The Shakedown is normally in open G. That’s what I’ve been using for a really long time. I was like, “You know what? I’m just going to do the 52.” And I’ve gotten so used to just doing the 10-52. TB: I started doing custom gauges from Ernie Ball early on where I was doing 10, 13, 17, 30, 44, 54. Tyler goes custom with his Ernie Ball strings. What is going to get these people who don’t know us to sing with us? I think a lot of that was just leaning into simplicity. It forced me as a songwriter to focus on the songs. TB: When you’re playing these huge outdoor venues sometimes like shredding, shredding, shredding doesn’t translate as much as just hitting an A chord with all your might. You’re working from a place of integrity.” If you don’t have a choice, you have to bet on yourself and you also just have to be open and see what works. TB: I have to be able to look myself in the mirror before going to sleep and go, “I like you. The need to work with integrity everyday. The priority started changing once I realized, “Oh, I want to be a songwriter. We started a band called The Shakedown, and I realized I was writing songs for myself. Then I met a drummer named Caleb Crosby, who I’ve been playing with ever since. I would go to restaurants and sit there and try to strike up conversations with people, hoping I would run into someone who would be looking to play drums in a band or looking to be a bass player. I thought I was going to be a songwriter for other people. TB: When I was 17, I moved to Nashville, which is a songwriting town. The moment Tyler realized he wanted to be a songwriter. So I thought, “Man, I’ll play rock and roll, and I’ll trick them into listening to the blues.” Like it was sort of this scheme that I’d created in my head. So I said, “Oh, rock and roll kind of is the blues.” I was always bummed out as a kid that I couldn’t make my friends get into Freddie King or Lighting’ Hopkins the way that I was into it. Then I realized that they were playing the blues with longer hair and more distortion and a little louder. I want to make people feel the blues.” Then as I got older, I saw The Black Crowes. TB: It started out as, “I want to play the blues. Rock and roll and the blues are one in the same. To support the release of ‘Third Eye Open’, Mike will be taking his very latest material out on the road and performing it live throughout May and June.1. I’m everlastingly grateful for your appreciation”Ĭheck it out for yourself: ‘Third Eye Open’– “A full throttle no holds barred musical extravaganza” ( Blues Matters) is out now on all formats.įor fans of physical media, ‘Third Eye Open’ CD and limited-run splatter 12” Vinyl, available from .uk The overwhelmingly positive way in which my new album ‘Third Eye Open’ has been greeted by fans and industry alike assures me that this quest has not been in vain. “My literal life’s work has been to make authentic, heartfelt music,” Mike says, “ music that transcends boundaries and raises spirits. ‘Third Eye Open’ seventh heaven achieved.” “Well, this is stunning,” said Fireworks Magazine, “Mike Ross seems to dance to his own tune and that allows him to add twists, turns and a dirty glitter ball too. Rushonrock, meanwhile, dubbed the album a ‘Southern Rock Wrapped Riffathon’, whilst Powerplay described Mike’s work as “like Led Zep fronted by Charlie Starr…” “It’s the hard-hitting songs… that really make this album an essential purchase,” they said, awarding the album a stonking 9/10. “Mike Ross has nailed it,” said FabricationsHQ, “’Third Eye Open’ takes in just about every musical influence Ross has, sonically shaping them around a big, bold, gritty and guitar gutsy 12 song collection…’ Mike Ross releases his 12-track album, ‘Third Eye Open’: a gritty, eloquent, riff-busting, rambunctious, rock-infused revelation.
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