Touring has always been the key to success for roots music performers. In an era when radio and television ignore blues artists, it’s important for us to go door-to-door with what we do. Also, with fewer and fewer stores selling roots music, CDs sold at shows figure into sales more than ever. This is yet another reason to get out there and literally take the music to the people.

2 Your latest album, Speak No Evil, features a variety of guitar tones. in particular, “Slip and Fall” and “Loving for today” have cool Leslie and chorus sounds, respectively. How did you dial in these tones?

I used a Leslie Model 16 for “Slip and Fall” and “Amanda.” On “Loving for Today,” it’s actually a flange from the Line 6 Pod. I liked the way it sounded on the demos, and kept it.

3 What stompboxes are currently on your pedalboard?

I use the RMC Picture Wah, the Nobels ODR-1 for overdrive, an old Dallas-Arbiter Trem Face tremolo, and a Boss Digital Delay.

4 is high string action the secret to your ringing tone?

Yes, absolutely. I’m using Ernie Ball Power Slinkys these days which are .011-.048. Of course, when strings are too heavy, radical Albert King bends and Otis Rush “singing string” vibrato are damn near impossible. An .011 for an E string seems to split the difference between what sounds better and what is possible to man-handle.

5 You’ve been around a lot of renowned musicians and producers. What’s the best advice you received early in your career about your musicianship?

It’s important for musicians to write and perform original songs and find a voice and style of their own. My long-time publicist friend here in Atlanta, Mark Pucci, told that to me two decades ago. Best advice I ever got in terms of finding my own style and voice as a blues rocker.