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nikfix · 8 years

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Blues Brotherhood : The Big Beer Dippers

Photo from their Facebook page.

I have found my love of blues music when I was researching on what my favorite players listen to. Guys like Steve Vai, Joe Satriani, Stevie Ray Vaughan, John Mayer, were mainly influenced by this guy called Jimi Hendrix who took electric blues to the next level with his cranked Marshall and the lefty-strung Fender Stratocaster. At the same time, players who listened to these heroes knew that blues is the very foundation on which rock music stands now.

I found out about the Dippers when I saw two of my former schoolmates from High School (San Beda College Alabang), formed a band and gigged together, bassist Popo Belez and their (former) drummer Antonio Sugay. I’ve taken interest on how they still stick on the blues in a time where dance, pop and hip hop music are hitting off the masses. I took some time to chat with the band with music, and the tools that keep ‘em going.

What started you into music?

Dean: I’ll be honest. I was one of those high school douche bags who picked up a guitar so I can try my luck with the ladies in school. That failed miserably, but I started leaning into it more. Learning it was the last thing on my mind, but I started to fall in love with WWE entrance music. A lot of it. Then classic rock got to me and grew into different genres to love into. Long story short I kept digging till I found a root of music that I just fell in love with, the blues.

Rafa: I was at a friend's house back in high school, I'd say it was about 2003 or 2004, and I remember him taking out a CD and saying "You gotta listen to this, man! They're called Audioslave." so he slapped the CD in and on came Cochise. I heard the helicopter intro and didn't really know what was going on then BOOM! The main riff comes in it sounded huge and it was right there in your face. It was the greatest thing I ever heard.

Popo: My elder brother, who is a drummer, is the one inspired me the most in playing music. I remember back when I was I think Grade 5 when I started listening to bands like Red Hot Chili Peppers. I was so amazed back then in how Flea (RHCP’s bassist) played, particularly in Tracks like “Around The World”, “Aeroplane”, “Get On Top”, etc. Then on Grade 6, I started listening to Metallica, when my brother borrowed a copy of their live album “S&M”. I was so into it that, as a graduation gift, I requested for my very first bass. I’ve been playing bass since then.

Tell us more about your musical background.

Dean: My first ever experience with a music group was through the school’s choir. Learned how to sing properly and continued to be a choir guy until my first year in college in DLSU. I was part of the DLSU choir for a while. Before college though I started with the whole band thing with my closest friends in high school. My singing mentor Samuel and my guitar mentor Justin, currently lead guitarist of Accord and Out of Order. That band evolved so much from one name after the other. We had so much band members we interchanged all through out. Samuel got busy, so Justin and I did a lot of band work together until we reached Accord. He mentored me from there as a rhythm guitarist then discovered the blues. From there I wanted to see if I can manage a band of pure blues and rock n roll. And that started the wall of sound and the band of brothers we’d like to call The Big Beer Dippers. That’s basically the tip of the iceberg. There was so much more bands Justin and I made at some point. Rafa: I've played with a few bands back in high school mostly with the same group of friends. I played in a punk band called Audio/Video (yes the name is terrible and I still cringe when I think about it. Haha) My friends and I also formed a garage band called the Radiofree Sound Project which had members rotating in and out of the band. It was formed mainly so we could all jam on the weekends. We'd play songs that meant a lot to us like stuff from Metallica, Megadeth, Razorback, Wolfgang, Soundgarden, Alice in Chains etc. For a time, about 3 years I was out of the band scene to focus on my studies. But I never gave up playing guitar. in 2013, I learned that our bass player in Radiofree, Popo, had joined a blues band called The Big Beer Dippers so I decided to check them out. Little did I know I'd be sessioning for them and eventually be a permanent member in less than 2 months.

Right now I’m still with the Big Beer Dippers and I’ve enjoyed every freakin’ second of it.

Popo: I started playing in bands during my High School years. My very first school band is Diehat Puppetzf, which is basically a sort-of Metallica cover band. We only played once, during a battle of the bands in school in I think, 2004. We unofficially got disbanded after this. My 2nd school band is Fade to Black, formed in a middle of 2004which is a blues/hard rock/mainstream kind of band. We played several events in school until we disbanded around early 2006. It is also around this time that I joined the Psalm 98 Praise Ministry Band, which is a band-type church choir. This helped me overcome stage fright and build up confidence while playing live. I’m still part of this choir, and we’re still serving on Holy Masses at the Chapel in Asian Hospital.

My 3rd school band is Cinnamo, formed almost right after Fade to Black. We play covers ranging from Eraserheads, The Used, The Starting Line, and Yellow Card songs. This band is one of my most successful school bands, and the most mainstream, with us playing several big events on and off school. I consider us currently in hiatus, since we didn’t disband at all. My 4th school band is named Autobordz, which is more of a hard rock/thrash metal cover band. We only had one major event with this band, back in I think 2008. We haven’t gig much since then.

After my graduation from College in March 2011, I decided to join the Couples for Christ: Youth for Family and Life (CFC-YFL), and eventually became part of the Music Ministry in our cluster. This introduced and influenced me into Praise and Worship songs, from very lively, rock-sounding, fast praise songs, to tear-jerking, moving worship songs, which, for me, is very soothing for my spirit. I've been introduced to some great worship artists like Hillsong, Planetshakers, Passion, Chris Tomlin, Jesus Culture, etc.

It is in June 2013 when at last my main and current band The Big Beer Dippers is born. It originally started as a session band doing blues covers and jams at Roadhouse Manila Bay. Little did we know this band will change our lives forever. As of the moment, we're in the process of recording our debut album, to be out soon.

November 2013 gave me an opportunity to be part of the main band (named Jband) for our Youth Community (CFC-YFL). The first time I played with them was during our annual Youth Fest, which is a large community event for the Youth, in Tarlac. I'm still a part of it until I transitioned to the Singles (CFC-SFL) community. My last performance with them is in 2014, in Baguio, for the annual World Youth Congress (WYC), which is a 3-day big event for all YFLs around the world.

I'm also part of the main band for our Couples For Christ: Singles For Family and Life (CFC-SFL) Community. The first time I played with this band was in 2014 in Batangas, at the annual World Singles Congress (WSC), which is basically the same as WYC except that it's for all SFL members. I've also played with them at WSC 2015 in Lucban Quezon, WSC 2016 in Cebu, and will be playing for the upcoming WSC 2017 in Albay.

I'm also part of the Live Pure Conference Band, whose members are those from Jband (main band for YFL), and SFL Band (main band for SFL). which is also an annual event for both our community and to non-community people. This is, for me, the biggest event for our community, as it is open to all. The first time I was able to play with this band is on the 2014 Conference, in SMX Convention Center. I was unable to play on 2015 Conference which is held in Araneta Coliseum, but was able to play again on last year's conference, which is held again in SMX Convention Center. We played for a crowd of 10,000 people on that event.

What got you into playing guitar/bass?

Dean: As I mentioned previously, I was more of a vocalist than an instrumentalist. I picked up a guitar just to sing cheesy emo songs back in the day to try my luck with young love. That proved to be very unsucessful so I decided to just play the keys and the guitar. Fell in love with the guitar a lot more and just learned more chordal stuff than anything melodic. The melody was mostly based on voice. Then eventually the digging took place, and low and behold I discovered the Crossroads.

Rafa: After hearing Audioslave for the first time, I just couldn't get enough of it. After that I started listening to other bands my friends recommended like Metallica and Dream Theater. It was after playing air guitar in front of the CD player that I realized I needed to play guitar. It wasn't a want, it was a need. I needed to experience this music I was listening to in a different way. I wasn't content with just sitting and listening I needed to feel it and experience playing these songs for myself.

Popo: My elder brother had this CD of Red Hot Chili Peppers when I was about 11-12 years old. Flea, RHCP's bassist, amazed the hell out of me and said that I want to play like that, with an instrument like that, which turned out to be bass. After I got my first bass, I got introduced to Metallica, with their 2nd and greatest bass player, Cliff Burton, blown me away with his unusual “Lead” bass approach in playing his parts. Eventually I also got introduced to Dream Theater, and finally, Mr. Big, whose bassist, the great Billy Sheehan, had the hugest influence in my playing.

Who are your musical influences/Who are your favorite guitar players? And why?

Dean: Oh my where do I start. Gary Clark Jr. is my hero, but he wasn’t my first. First blues guy I was totally into in was Angus Young of ACDC. However, I wouldn’t say influenced, but more of my starting point to how I found the blues. BB King and Eric Clapton (more of his Cream stuff) came around after. BB more for the laid back and joyous melodies and Clapton for just back bone pentatonic styles. Then Jimi Hendrix came along and I was sold. The fuzzes, the feedback, the univibe, the everything he did. Locally, I came to love the works of Paul Leobrera of the Bleu Rascals, the melodic choices of Reinald Jerome Pineda (as a keyboardist) of the Brat Pack, the whale like tones of Joko Reantaso of Mean Jay.

And then there was Gary Clark Jr. Yeah sure, there’s the fuzz lords like Jack White and Dan Auerbach, but my God, did GCJ blow me away. Sustained fuzzes and without a care in the world about how infinite is feedback is. The man’s tone is such a beautiful organized mess and his style and choices of melodies really resonates with me. He can go all out or just go plain Missippi Delta style. Everything about him just makes me wanna pick up my guitar and just play.

Rafa: Tom Morello for starters. I've always liked the way he writes his riffs. There's always a certain bounce to them. Joe Satriani, Jimi Hendrix. James Hetfield (Best rhythm guitarist ever)

Gary Clark Jr., BB King, Derek Trucks... 3 great blues guitarists that always manage to give me goose bumps.

Of course there are staples like Metallica, Megadeth, Rage Against The Machine, Soundgarden, Alice in Chains, Phat Phunktion for some great funk inspiration, local acts like Wolfgang, Razorback, and Kjwan plus a band who we've been gigging with a lot called Ang Bagong Luto ni Enriquez. But probably the biggest musical influence on me would be my band The Big Beer Dippers. Dean, Popo, Anton (our former drummer), and Miguel (our current drummer) have made me grow so much as a musician more than any of the artists I’ve mentioned above. Coming from bands that would only do covers and never anything original, I joined the band blind as a fucking bat and knowing jack shit about music. But these guys were so much more musically knowledgeable than me, especially with Dean being in Music Production at the time and Popo having so much experience being in different bands, that I felt like I had to step up my game and deliver something that I felt worthy of being in a band with so many talented people. I feel like I’ve learned so much about music being in BBD.

Popo: Billy Sheehan, Cliff Burton, and John Myung are my top favorite bass players. All three are highly acclaimed bass players with each having their unique style. Why? Because they influence me to approach the bass in an uncommon way. With Sheehan and Burton's “Lead Bass” approach, and Myung's extensive use of bass harmonics and amazing two-handed tapping, which I sort-of integrated with my own style.

What guitars have you acquired and played over the years?

Dean:

Oh good ol Maxine. My Ibanez AS73B is a beast of a semi hollow. I got this sweet thing back in San Francisco in a clearance sale in Guitar Center. It had pickups that was dying and a screechy tone pot (which reminds me that I’ll be needing to replace soon). I had Justin help me learn how to set up a guitar properly (which I’m 70% confident in doing, damn truss rods). And got the pickups replaced with Artec’s copies of the Pearly Gates which adds a lot of bite and lesser mud if a fuzz pedal is used. Oh and this guitar was signed by Guthrie Govan when I was in his clinic (which I had ideas about what he talked about, but had no idea how to apply). History wise, Justin always told me it would always be great to have a semi hollow guitar. So I got one before he did. I played this baby during the course of Accord and the earlier days of The Big Beer Dippers. I still love using it in some recordings, but I have been giving it some rest. But most of my discovery of getting some GCJ inspired tones was captured through this lovely guitar. I may rarely gig with it nowadays, but it’s still definitely one of my main guitars.

Ah yes London. London is my Tokai Stratocaster that sure plays so well and sounds amazing. There were something about Stratocasters that a Telecaster can’t do. It’s that famous springy sound it gets from its pickups. Made evident by the likes of Stevie Ray Vaughan and Jimi Hendrix. Great with fuzz tones (duh). I can with the effects I have I can slightly get that Jimi Woodstock tone that gets me very excited just to play guitar.

This acoustic guitar is mainly used for my song writing and practicing delta blues. I also used the same guitar when I was recording my Finals EP “Old Soul” back when I was in Music Production.

Rafa:

This old girl was my very first guitar which my mom bought me back in 2004. Specs? It’s a nylon string acoustic guitar with custom Metallica, Biohazard, and Skate or Die stickers (I don’t skate by the way). This guitar has been with me through thick and thin, through the best memories of my life and some of the worst (I almost bashed this thing over someone’s head in high school). I’ve learned so many songs on this guitar, Original Prankster and Nothing Else Matters to name a few. I’ve played this guitar until it could literally not stay in tune anymore. I think changing the tuning machines and refretting it would get it back into shape. Quick story: under that biohazard sticker is another sticker that says “Legalize Cannabis” and my mom yelled at 14 year old me saying “Do you even know what that is?” and I just looked at her and shrugged. I didn’t know what the hell it was and I thought it looked cool. So later that day we went to a Tower Records and bought that biohazard sticker to cover it up.

The next guitar that I got was an Ibanez GRX 40. It was part of a Jumpstart package which came with a small amp, and several other accessories. I had been begging my mom to buy me an electric guitar for several months after I started playing. After about 2 years of waiting I got this and it’s been my workhorse until now. If a soldier has his M-16, I have this. I’ve done a few upgrades to it since. I swapped out the old tuners to locking tuners, The neck pickup is a Seymour Duncan Hotrail, Middle pickup is stock, and at the bridge is a Seymour Duncan JB. Next thing I’m gonna do with this is to change out the nut and saddles to Graphtech.

Right after I joined BBD and started regularly gigging, Dean (lead vocals) told me “I’m gonna wager that you’ll want to have a semi-hollow guitar for yourself very soon.” And he was right. When I was shopping around for one online, I came across this beauty. It’s an Epiphone Riviera P-93 with 3 P-90s. I changed out the neck and bridge pickups to Artec P-90s. Compared to the stock pickups, they’re a little bit clearer especially in the bridge position. The gold covers are a nice touch too. It can play everything from a nice smooth blues tune to a searing Fuzzed out song. Next modification I’m planning for this is a roller bridge.

This is my most recent acquisition, an Epiphone SG. I’ve always wanted a simple double humbucker guitar and I think it doesn’t get any simpler than an SG. It’s light and you can get some pretty good tones out of it. I haven’t played this guitar at a gig and I can’t wait.

Popo:

My first bass was a locally-made blue copy of the 4-string Gibson EB Bass. It has a short-scale neck (around 27-29 inches), has 21 Frets, and has a neck-though construction. Its controls are volume and tone contol for each pickup, and a 4-way selector to split the signal between the neck and the bridge pickups. I'm not sure what wood is used for its neck and body. The pickups are all stock, which I have no idea what brand they are. Its head has been chopped off when It fell to the floor from the table, back in my 1st year HS. My father repaired it with wood glue and steel plating on each side to hold the head steady. It has been my bass until around 2005 when I acquired my 5 string.

My second bass was yet another locally-made red sunburst 5-string Bass. It has a standard long-scale neck (34-36 inches), 24 frets, a bolt-on construction. As with my first bass, I'm not sure what wood is used for its neck and body. Its controls are almost the same as my first bass but without the selector. It has two jazz bass style strip pickups, which are all stock as well. Same as my first bass, I don't know what's the brand of the pickups. I used this bass for majority of my HS and College days until around early 2011, where I was forced to de-commision it for the neck warped.

My third bass is a black RJ 4-string Bass. It's yet another short-scale bass (probably around 28-30 inch), 22 frets, and a bolt-on construction. Its controls are a single volume and tone knob, and a 3-way switch the toggles the middle pickup on the 1st position, toggle both pickups in the 2nd position, and toggle the bridge pickup in the 3rd position. Again, I'm not sure what wood is used for its neck and body. It has a jazz bass strip pickup at the bridge position and a p-bass split pickup in the middle. I used this bass from 2010 up until 2012 when I decided to change its truss rod, bridge, and have it re-fretted. It was during this that I bought my fourth bass.

My fourth bass is an Ibanez GSR320 4-string bass with a metallic red-sunburst finish. This is my current main bass. It has a standard long-scale neck (34 inches), 22 frets, and a bolt-on “All access” construction. It has a poplar body and a maple neck and rosewood fretboard. Its controls are a volume knob for the neck pickup, a volume knob for the bridge pickup, and the overall tone control, which I usually have all the way up. For pickups, it has two Ibanez Std. J strip pickups for both neck and bridge positions. I use Rotosound RS66LN Strings with gauges .45, .65, .85, and .105 (standard gauge). The only after-market hardware I added to it was the Hipshot GB7 Bass Xtender on the E-string, which gives me the ability to quickly drop the tuning of the E-string to a low D with a flick of a lever.

Let's take a look at your pedalboard. What effects do you have right now on your rig? What pedals can you not play without?

Dean:

Snark Tuner > Voodoo Lab Proctavia > MXR Uni-Vibe > Ibanez Mini Tube Screamer > Dunlop Jimi Hendrix Fuzz Face > MXR Super Badass Distortion > TC Electronic Flashback Delay? I’M STILL MISSING A WAH AND AN OCTAVE PEDAL AND I’M GOOD.

As doing mostly rhythm and occasional leads in the band, Basically I can do without my Voodoo lab Proctavia. I usually stack my dirt pedals (2 at a time, never all at the same time) either TS with FF or TS with SBAD or SBAD and FF. It really depends on my mood and what kind of lead tones I’m looking for. Usually with Maxine, I rarely use the TS but use the distortion more but I use the TS more when I use London.

The Flashback has a unique Tone Print that Rafa and I looked into and loved it to bits. We found the John Konesky TonePrint that we found very useful for lead tones or some our ambient sounds we make for BBD’s original songs like “Can’t Be Mine”.

And the Uni-Vibe. I never go in a gig without it. From Hendrix to Pink Floyd tones, what it does just creates a huge derpy smile on my face. I get a lot of hate though. “Why do you need so much pedals, you’re in a blues band???”. I tell you why, we make a BIG WALL OF SOUND. Making it the band’s signature thing. Hence why “The Big Beer Dippers”. Emphasize on the BIG.

Rafa: This is my still sort of incomplete pedal board. The Jerry Cantrell Cry Baby Wah goes first. That goes into the Ernie Ball VP Jr. for volume swells. Next in the chain is the Electro Harmonix Soul Food. It’s got a very good transparent overdrive tone and it’s got a ton of output. I mainly use it as a treble boost for when I use my Riviera since it’s a darker sounding guitar. Next up is the Digitech Bad Monkey and it’s the oldest pedal on my board. I’ve had it since 2009. It’s a good Tube Screamer clone and it works really well with the other pedals in the chain.

Then we have the Shredhead by the one and only MarkV. This has become my favorite pedal ever. It can do low gain overdriven tones to full on Metal and it sounds great when you stack it with the Bad Monkey for a searing lead tone. The Electro Harmonix Big Muff is for when I want to break every single bottle at Checkpoint. It’s thick, it’s meaty, it growls when you hit it. I love it. It a great fuzz tone. Stack it with the overdrive and it’s like the amp catches fire. Awesome! Lastly it’s the TC Electronic Flashback delay. This pretty much ties the whole pedal board together it adds a lot of spaciousness to my sound and adds just the right amount of presence to my solos. I will never be able to play without the Shredhead, Bad Monkey, and the Cry Baby.

Popo:

I have a total of 6 pedals in my pedalboard. Signal chain is: 1. Nady DKW-8U Wireless System – I got the idea of putting the Wireless receiver on the board from Mr. Big's Paul Gilbert. If I'm using the Wireless, it's usually the first in the chain. I bypass it if I'm using a cable, plugging directly to the Sheehan Overdrive.

2. EBS Billy Sheehan Signature Overdrive – Out from the Wireless receiver (or cable), this is the next pedal in the chain. It's the balls of my tone, provides me with an awesome mid-rangy overdrive without loosing my clean low-end bass tone. This is achieved by having two separate signal paths (channels) within the pedal, one distorted (drive) and one clean, and mix them together in output. It has controls for Drive, Tone, and Level, which affects the drive channel only, while the Clean knob is the overall level of the Clean channel. Another interesting feature of this pedal are the loop jacks, for both the Drive and Clean channels, which enables you to plug in various effects that will only affect which the channel it's connected to (any effect connected to the Drive loop only affects the Drive channel, and vice versa), which offers infinite possibilities in your overall tone. Out of the Drive loop of the Sheehan pedal, I have a Boston BE1 Bass Equalizer pedal, which is tuned to trimmed off lows on the Drive tone, since I won't be needing lows on the overdrive sound, as the low end is already provided by my clean tone mixed with the drive tone. The pedal also has a built-in compressor which is set to high, so that the overall tone would be properly mixed (both clean and drive tones).

3. MXR Phase 90 Phaser – This pedal is next in the chain. The inspiration of using this came from Eddie Van Halen, which he used famously on his guitar solo track “Eruption”. The single “Speed” knob is set on the 9 'o clock position, which is for me its sweetest spot. I also use this pedal as a sort-of Wah-wah pedal by turning the speed knob up at around 12 o' clock or 1 'o clock position.

4. Morley Mini Volume – This pedal has multiple purposes, one being sort-of a mute, another being a master volume pedal, and my most favorite use, to be used for violin-like volume swells (alongside the Boss DD3 and Zoom MultiStomp).

5. Boss DD3 Digital Delay – I use this pedal mostly for all my volume swells (we have an original where the bassline is entirely consisting of volume swells). It is already dialed for my preferred time (250ms) and feedback (around 3 'o clock position), which, for me is its sweetest spot for swells. The Level is set all the way up to achieve that chilling yet haunting echo effect I love. The only thing I don't like on this pedal is that it doesn't have a Tap tempo feature, so I have to bend over to adjust the knobs on stage if I want a dotted eighth effect, which is another style I love doing with it.

6. Zoom MS-60B MultiStomp for Bass – One of the things I love on this pedal is its amp simulators, which, when dialed properly, enables the pedal to act as an amp, which is a handy feature if the venue we're gigging doesn't have a bass amp present (I can just plug straight to the PA if needed), or if the bass amp in the venue is not in good condition (believe, it happened a lot of times to me). All pedals are powered with the MacSmith power brick, with has 8 9-volt ports and 2 18-volt ports. The power brick is powered by a Danelectro adapter.

What amps do you use?

Dean:

I use this 30 watt solid state Cort amp. Just a nice gigging and practice amp that gets me by at small venues or New Year’s eve. Nothing too special about it. It does what it does. Planning to get a lunch box amp though. Like Orange or something. With a nice 2x12 cab. Yeah. That would be nice. That would be so nice.

Rafa: My Laney CUB 15 and 2x12 cab.

Popo:

My main amp is the Hartke HyDrive 112c Bass Combo. This 250-Watt amp has a 7-band Graphic Equalizer, which is set to a sort-of “Sad Face” EQ, a Bass and Treble knob, a built-in Hartke Bass Attack Overdrive (which I don't use), Shape control (which is use before until recently), a built-in Compressor (which I don't use, since I have my compressor done by the Sheehan pedal), and a level knob for the overall volume. At the back, it has effect loop jacks (send and return), an Aux In (should I wish to plug an external audio player), a footswitch jack (for the footswitch to control the Shape and Bass Attack, which I don't have), an a Direct Out port, which can be plugged directly to the PA for live performances. The amp is powering a 12-inch Hartke HyDrive speaker, which is half-aluminum, half paper cone, and can be powered up to 300 watts.

My second amp is a Laney RB2 Bass Combo. It is a 30-watt amp, which I use for small venue performances. This is what I mainly use when we serve in at Asian Hospital's chapel with our choir. What are you listening to right now? Dean: Gary Clark Jr., Tedeschi Trucks Band, Joe Bonamassa (yes), Jimi Hendrix, Kenny Wayne Shepard, Led Zeppelin, The Black Keys Rafa: Tedeschi Trucks Band, Gary Clark Jr., Mad Season Popo: Lately, since I'm such a huge Star Wars fan, I've been listening to a lot of the musical scores and soundtracks of it, especially the soundtrack of Rogue One, which came out recently. I've been alternating this with my usual playlist of Metallica, Dream Theater, and Praise and Worship songs.

What's your advice to your fellow musicians and guitar players?

Dean: Improving your skill can only get you so far. If you really want your music get heard, is that musicians need to start practicing making better and more solid communities. Yes there are existing communities, but not everybody in this world are serious musicians. The serious hard working ones will get their due, just never give up. I’m still working hard along with my brothers of BBD. And I just know we’ll prevail soon. Do it with a smile on your face and the right determination that will not just benefit you, but benefit other musicians as well.

Rafa: Practice, practice, practice. For those in a band treat each other like family. You guys are in this together and making music together creates such a deep connection between people. Talk to your band mates about anything on your mind, be it problems, or things that make you happy, or just grab your attention and transform that into something beautiful through your music. And be weird together.

Popo: Keep on practicing. Simple as that. Hone your talent, develop it to its full potential. For me, there's no rule in music on the right way to play your instrument and to what sound you should only make with it. To each his own, they say. So develop your own style, and your own sound.

#blues

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