Experience Hendrix LLC and Legacy Recordings announced four new titles representing the fourth wave of releases in the monumental Jimi Hendrix Catalog Project, available everywhere Tuesday, September 13.

The fourth round of titles from the artist Rolling Stone magazine called “the greatest guitarist of all time” focuses on Hendrix the concert performer with four outstanding releases underscoring the artist’s electrifying on-stage prowess: Winterland (a 4 Disc Deluxe Box Set), Hendrix In The West (Expanded), Blue Wild Angel: Jimi Hendrix Live At The Isle Of Wight on DVD, and Jimi Hendrix: The Dick Cavett Show (every Hendrix appearance on the celebrated talk show on DVD).

Jimi Hendrix Experience- Winterland (versions available: 4 Disc Deluxe Box Set or 8 12″ 180 gram Vinyl Audiophile LP Deluxe Box Set or 1 CD Winterland “Highlights”)

Winterland is drawn from six shows recorded over three days (October 10, 11 and 12, 1968) at San Francisco’s historic Winterland Ballroom. These special performances celebrated the two year anniversary of the Jimi Hendrix Experience and came just as the groundbreaking album Electric Ladyland was released.

Winterland presents some of Hendrix’s most spectacular guitar work and the four CD set (also available as eight 12″ vinyl LPs) is filled with rare live versions of classic songs such as “Manic Depression,” “Are You Experienced?,” “Tax Free,” and “Little Wing” that are not part of any other Sony Legacy release. Fans will also enjoy Hendrix’s dramatic interpretations of Cream’s “Sunshine Of Your Love” and Howlin’ Wolf’s “Killing Floor” [with the Experience joined by Jefferson Airplane bassist Jack Casady] as well his rendition of Bob Dylan’s “Like A Rolling Stone,” which has been selected as the lead track for this special release.

This special deluxe box set features never before released music from each of the six unforgettable Winterland performances. The new standard and deluxe editions of Winterland are markedly different from a single disc compilation, long out of print, that was briefly issued by Rykodisc in 1987 and 1988.

The deluxe edition also presents a rare interview with Hendrix recorded backstage at the Boston Garden a few weeks after the Winterland performances. This previously unreleased bonus provides fans with a unique window into Hendrix’s views about his background, his approach to the guitar and songwriting and future direction of his music.

The deluxe edition also features a 36 page booked filled with previously unpublished images by acclaimed photographers Robert Knight, Allen Tannenbaum and Jim Marshall as well as an essay by noted Rolling Stone journalist David Fricke.

The featured track, “Like A Rolling Stone,” will precede the album’s release as a CD and 7″ vinyl single coming out Tuesday, August 23 in the states (international release date: August 22). The single will also feature a previously unreleased live version of “Purple Haze” from the Winterland concerts that will not be featured on the box set.

Amazon will offer an exclusive bonus CD to be bundled with all orders of the four CD and 8 LP Winterland box sets sold through Amazon during 2011 consisting of recordings from Jimi’s February 4, 1968 Winterland performance: “Killing Floor,” “Red House,” “Dear Mr. Fantasy (Part One)” and “Dear Mr. Fantasy (Part Two).” These tracks have been previously available only as part of the rare Dagger Records official bootleg Paris ’67/San Francisco ’68 and have never been available for retail sale.

Tracklisting Jimi Hendrix Experience- Winterland (4 Disc Deluxe Box Set):

Disc One
10/10/68 Winterland Ballroom, San Francisco
Tax Free
Lover Man
Sunshine of Your Love
Hear My Train A Comin’
Killing Floor
Foxey Lady
Hey Joe
Star Spangled Banner
Purple Haze

Disc Two
10/11/68 Winterland Ballroom, San Francisco
Tax Free
Like a Rolling Stone
Lover Man
Hey Joe
Fire
Foxey Lady
Are You Experienced
Red House
Purple Haze

Disc Three
10/12/68 Winterland Ballroom, San Francisco
Fire
Lover Man
Like a Rolling Stone
Manic Depression
Sunshine of Your Love
Little Wing
Spanish Castle Magic
Red House
Hey Joe
Purple Haze
Wild Thing

Disc Four
Bonus disc Winterland Ballroom, San Francisco
Foxy Lady
Are You Experienced
Voodoo Child (Slight Return)
Red House
Star Spangled Banner
Purple Haze
Jimi Hendrix: Boston Garden Backstage Interview

* * * * *
Jimi Hendrix – Hendrix In The West – available as single CD or 2-Disc 12″ 180 gram Vinyl Audiophile LP Vinyl version
Consisting of live material recorded at venues ranging from the Berkeley Community Theatre and the San Diego Sports Arena to the Isle of Wight Festival, Hendrix In The West captures the guitarist exploring new directions in sound during 1969-70. Robert Christgau, the Dean of American Rock Critics, called Hendrix’s versions of “Red House” and, “Johnny B. Goode” on this album “definitive.” Out of print in the US since 1974 and for more than two decades internationally, Hendrix In TheWest, has remained one of the most requested albums by fans to return to the commercial marketplace.

Hendrix In The West will be reissued as an expanded single disc featuring five additional, previously unavailable performances. The album’s iconic cover features a classic Jim Marshall photograph of the guitarist and the twenty-four page book is filled with rare and previously unseen images captured by Marshall’s distinctive lens. This expanded edition of Hendrix In The West will also be available on 12″ vinyl as a 2 LP set.

Tracklisting Hendrix In The West:
The Queen
Sgt. Pepper’s Lonely Hearts Club Band
Little Wing
Fire
I Don’t Live Today
Spanish Castle Magic
Red House
Johnny B. Goode
Lover Man
Blue Suede Shoes
Voodoo Child (Slight Return)

* * * * *
Jimi Hendrix – Blue Wild Angel: Jimi Hendrix At The Isle Of Wight – DVD
Experience Hendrix has also expanded this definitive presentation of Jimi’s historic performance before 600,000 at the Isle of Wight Festival in August 1970.

Exquisitely directed by Academy Award-winning American documentary/experimental filmmaker Murray Lerner, this special reissue now runs more than 180 minutes and features a newly created special features section that allows viewers to view individual camera angles of selected performances. Hendrix fans can now select individual camera angles to focus on the guitarist’s incomparable fretwork and technique during such signature songs as “All Along The Watchtower,” “Spanish Castle Magic,” “Sergeant Pepper’s Lonely Hearts Club Band,” “Foxey Lady,” and more.

This new definitive DVD edition also features newly discovered footage of Hendrix’s Isle Of Wight performance of “Hey Joe,” the single that launched his meteoric career in England in 1966.

Blue Wild Angel: Jimi Hendrix Live At The Isle Of Wight features both stereo and 5.1 surround soundtracks mixed by Eddie Kramer, Hendrix’s original recording engineer.

* * * * *
Jimi Hendrix: The Dick Cavett Show – DVD
The complete collection of Jimi Hendrix’s celebrated appearances on The Dick Cavett Show is now available on Legacy Recordings. The Dick Cavett Show marked Jimi’s US network television debut and this special documentary, directed by multiple Grammy Award winner Bob Smeaton [Beatles Anthology, Band Of Gypsys], features complete live performances of “Izabella”, “Machine Gun”, and “Hear My Train A Comin’” as well as new interviews with Cavett, Experience band members Mitch Mitchell and Billy Cox, and others. Jimi’s own insightful interviews with Cavett touched upon a variety of personal and professional issues ranging from his stint as a US Army paratrooper to his celebrated rendition of the “Star Spangled Banner” at the Woodstock Festival. These conversations with Cavett helped reveal the humor, passion, and intelligence of the man behind such rock classics as Are You Experienced and Electric Ladyland.

This deluxe edition also includes a new, behind the scenes documentary. The Dick Cavett Show DVD runs 90 minutes total.

By Carol Anne Szel

To merely call Carlos Alomar a guitarist is a gross understatement. With thirty two international Platinum and Gold records to his name playing with artists from David Bowie to James Brown, John Lennon and Paul McCartney to Iggy Pop, and a veritable potpourri of musical icons in between, this R&B/Punk/Pop/Rock musical legend is still a driving force today at age 60.

While his discography page looking more like the trophy wall of the Rock and Roll Hall of Fame then a web site, this Puerto Rican born/Bronx raised artist continues to remain a mainstay in contemporary music. Working recently with the likes of Alicia Keys and Jennifer Hudson, Alomar has also taken on residency as the Distinguished Artist in Residence at Stevens Institute of Technology.

Discussing the past, present, and future of music and it’s ever changing chronicles, I had the honor and privilege to sit down and talk with Carlos Alomar recently as we learn of what albums influenced his musical and personal life.

Carlos Alomar: First of all, the issue of taking ten albums is extremely difficult. The issue of having to decide what [has] influenced as opposed to what did you influence. You know what I mean? These components really create this terrible confusion in my brain as to what albums did influence me. And where was it apparent that this influence came to light? You know, to be influenced by something, its like “My Sweet Lord.” Finally you’re playing this song and you never realize you’ve been influenced. You don’t even know the history, but somewhere along the line you’ve heard something and it just popped up.

Also, another factor is, I love certain songs. But it isn’t the song that you’re asking me for, it is the albums that you’re asking me for. And so that creates another sort of complication. It was difficult in that I had to actually put a million songs down and then starting to analyze it in a form of like ‘what influenced my technique’ because I have to acknowledge that. And what influenced my sensibilities. So those two criteria were the ones I used for the choices I made.

Now there are some inherit problems found in this in that sometimes the influences that I felt were when I was younger, and now that I’m approaching 60 it becomes difficult to see what influenced me recently. So I had to look at it and I realized that most of my influences started early, early on. So I have to start there.

I’m going to start with “Revolver” by the Beatles. Now it’s very difficult to speak about the Beatles because to me they were [it], ten years from the ’60s to maybe the ’70s. So basically…all of the Beatles albums as one influence, but “Revolver” was by far the one that made me leaving that nice, nice area they were in. Going into the more psychedelic, and just all of them having an influence. Harrison stepping out more as a guitarist and writing. That album for me was landmark.

Then a friend of mine introduced me to Jimi Hendrix “Are You Experienced.” As a guitarist I went crazy. First of all, it was coupled with the advent of the stereophonic, hi-fi system. Remember, even with some of the Beatles and some of those other tracks, we had kind of the pseudo-mono. It hadn’t really evolved the way it should have. So Jimi Hendrix came out and it was so influential as a guitarist. I’d like to put it this way, during that same ’60s period that I noted to you — with not only the Beatles but you had Herman’s Hermits — you had all these other bands that were playing at that time and I had just gotten influenced by them. But the guitarist wasn’t the main force. He was interesting as some component and every once in a while a guitarist would step out to play a little lead. But the issue of a power trio was unheard of. And when he [Hendrix] stepped in front with a Marshall and a Strat, I couldn’t believe it. First of all I had to listen to the record a few times when I first heard it with the friend that said ‘what’s wrong with you?’ And then I bought the record and that was it, the record got scratched up immediately because I had to learn every note. And I did, I learned that whole album!

I was influenced, too, by the San Francisco Bay area in the early ’60s or late ’60s actually. There was a band called Cold Blood. And remember, we’re going from the psychedelic kind of thing, and now we’re looking at kind of the R&B fuse kind of thing of rock and blues and jazz. They had this amazing horn section with a singer Lydia Pense that was like Janis Joplin. Rough and hard, singing blues and singing hardcore. The horn section rivaled Blood Sweat & Tears, Chicago … They were like ridiculously awesome. As a group, as a band, they were fronted by a horn section. When I heard Cold Blood, they were the ones who made it for me.

Also, the big one. James Brown. And for me, his particular album was “Say it Loud, I’m Black and I’m Proud.” Now that was influential to me in a different way. Obviously because of the funk factor. But for me if was mostly influential on a different esoteric because as a Latino man, they did not teach Latin American history at that time. It was 1969, you know, late ’60s. I was 18 years old and the whole issue of pride came up at that point. And so not understanding my own history, I finally find out that the Puerto Rican is actually a combination of the Taino Indian, the African slaves, and the Spaniards. So the consciousness of that song, “I’m Black and I’m Proud” really created a moment in my life where black music was a little bit harder felt for me. Just for the sake of the fact that it had its own identity now. That music influenced me as a character, as a personality, as a person.

The next year, 1970, Santana came out with the album “Abraxas.” Now Santana, being a Latino, once again we’re going toward that influence. Now, I see this Latin, for the first time, a Latin guitar player being fronted by any singer he wanted. And from that album you have “Black Magic Woman.” Oh my God, that album was crazy, that album was amazing. “Black Magic Woman,” “Oye Como Va,” “Incident at Neshabur,” all these songs were really heavy duty.

I’d have to include Django Reinhardt. Now the album is called “Django Reinhardt and the Hot Club Quintet.” This man had an accident in his mid-life where he was in a fire and two of his fingers on his right hand were burned and fused together. Now you’re looking at a man who has a thumb and two fingers on his right hand, what we call his ‘picking hand.’ This man developed a technique for gypsy guitar that is the fastest guitar — forget shredding, forget flamenco, forget all of that. This Jazz guitar player is the most amazing guitar player that I have ever heard in my life. He developed his own technique. Guitar gymnastics that will make a million guitar players stop playing guitar for the rest of their lives.

The Main Ingredient “Afrodisiac” album. That has a different type of explanation. I joined the Main Ingredient and that was the first album that I performed on, and that was because I was a session artist for RCA. So it was the place where I finally got the chance to show the world what I had. In particular, there is a song on that album called “You Can Call Me Rover” which if you listen to it you’ll hear little bits of what would later become (David Bowie’s) “Fame.” So that one has to be noted because that kind of took my whole R&B history and at that point it kind of came to an end — not to an end, but there was a period where that stopped and I joined Bowie and obviously slipped into the rock and roll epoch of my life.

Now I have to list David Bowie of course. And the one I’d have to pick is “Young Americans.” And the reason is, I never really had much confidence in the blue-eyed soul situation. Wait, before that I have to mention another influence.

There were some things that happened when I met Bowie. One of the influences that he introduced me to was a band called Kraftwerk. Kraftwerk was a German instrumental band, and they had an album called “Trans-Europe Express.” And that album for me was influential in that it introduced me to this, for lack of a better term, new-age music. Not psychedelic, but that trance-like melodic theme you get not only in disco music but they also gave me a glimpse early on into the whole, what we call, soundscapes. Yes it is instrumental music, but it isn’t instrumental music like for movies. It had a type of beat to it and it had the pounding kick drum, and, of course, songs that go on for like eight minutes.

Kraftwerk was a major, major influence to me; to allow me to take my mindset away from R&B and away from Rock and Roll and kind of couple it with classical music. It allowed me to understand the development of a song. Because usually in pop music and in different cultures we have to get to it right away. Verse chorus, verse chorus, bridge, out. And yet in classical music, you introduce the scene with anything, there’s a prologue to everything. That was about 1975, 76.

Some of these albums are the fact is it’s an influential albums. But then I have to give commentary about how. And the obvious was David Bowie’s “Trilogy” with Brian Eno that I was a part of. All of that happened around this same time. It’s linear, it’s not verse chorus, verse chorus. You know the verse could be the whole song.

Now remember there was a big conflict in 1977, iIn the ’70s, let’s call it, with disco music. Disco music had a different impact than people think. Let’s understand time of a record. In the pop culture of the ’60s, songs were less than three minutes long. As they approached the ’70s, as they left the ’70s, they started becoming longer and longer and longer, where we had disco music in that period of the late ’70s/early ’80s — these songs, oh my god, six minutes long was not out of the question.

And then the artist found out a little known truth. If your record is longer than four minutes long, you get paid for two songs. So you know what? Everyone had songs that were like six minutes long! Yeah, you got more for the longer songs. They soon stopped that practice, but other than that it was a great influence at that time.

Another influential album for me, although I played on it, I have to acknowledge it. It was “Lust for Life“by Iggy Pop. At the same time in 1977 I was introduced to Iggy Pop by David Bowie. And the difference in that influence was that it changed my sensibility in my performance and to revisit punk music as a driving force of what made me feel good and what I needed in order to be a guitarist.

The influence of the pop culture in the ’60s and the rock and roll culture in the ’70s created this nuance that gave me a more sophisticated, not only technique, but my own feeling of comfort. The minute I joined Iggy Pop in his albums, and then later on touring, that whole sensibility took a big change. As there is no back line in punk music, everybody is in the front line with the singer. I wasn’t looking at myself as a rhythm guitar player anymore, now I was a lead guitar player that will kick you in your face if he feels like it! So Iggy gave me a force that I would take into my later life.

The Supremes had a greatest hits album that I used to listen to with my wife Robin. It was “The Best of the Supremes,” and of course it had “Baby Love,” “Where Did Your Love Go,” “Stone Love,” “Reflections.” As you can see, none of the albums I listed are girl trios or girl singers in particular. But there was something about that music. When I was very, very young I heard “Baby Love” through a rolled-down car window. And that influenced me so much. I was a minister’s son and so I was only allowed to play church music. So for me to hear R&B music: The Supremes, The Temptations, I was like ‘oh my god, what are those chords? ‘Oh my god, what are those progressions?’ ‘Oh my god, how amazing!’ They had a bridge, I never knew what a bridge was. A bridge by definition is a totally different song that you just take and put inside of a song. But the reason is, when you think of a song, usually the highlight of a song is the chorus. Now when you think the song can not get any higher, when you think it can’t get any better than it is, you take it to the bridge and that other song kicks in there for about two seconds, your brain just explodes and then you go into super overdrive!

James Brown would take it to the bridge, and [once] I got fined. I was in working with his band as a pick-up musician and I didn’t hit when he said ‘take it to the bridge’ and they docked me fifty dollars. Oh, it’s a serious business if you don’t hit the bridge when it comes around. He wasn’t tough to work with, he was James Brown. He was a task master. And, true to word, he could pick up in the very next stop. Anybody was dying to play with James Brown, so for me to play with James Brown was like ‘oh my god.”

James Brown, Wilson Pickett, Chuck Berry. And these were all people that I performed with or toured with or worked with in the ’60s and yet they were so part of my culture that the influence wasn’t crazy, crazy. It was just there.

So it becomes very difficult when you have to think about what influenced you. Because you have to come from a place that you already were. And influence means to be taken from where you are and influenced to go somewhere else.

Oh wait, I have to put one more band in there. Sly and the Family Stone were the first interracial band to perform at the Apollo Theater. And this was I guess ’68, myself, my wife, and my best friend Luther Vandross were at a small workshop at the basement of the Apollo Theater. We were part of a workshop called “Listen My Brother.” We rehearsed, rehearsed, and rehearsed and our big thing was that we were going to be the opening act for Sly and the Family Stone, in the Apollo Theater, to open up. When we entered into that world, Sly and the Family Stone changed us very quickly. Remember, we were going from the R&B, classic R&B rhythm session/band where you’re sitting down, you are in a sense a band. You don’t stand up, only the lead singer gets in front of the microphone. Suddenly, Sly and the Family Stone comes to the Apollo Theater and the back line gets Fender amplifiers from the floor over three or four stories high to the top of the curtain. From the stage, all you saw was the gray material of the amplifiers. They destroyed that theater so bad it was never the same! And they destroyed me as well!

When we went backstage and to the hotel with them, that was it. I had just finished coming from the chitlin’ circuit of R&B music where the managers would have to take their guns and get their guns ready while everybody waited by the bus when they had to go in to get their money. Where you would take the bus and the bus would stop somewhere in the woods and there would be this speakeasy or whatever it would be called. You’re coming from that into the light of rock and roll, come on. I was like ‘oh my god, I want to do this.’

And a few years later when I had the chance to meet Bowie, that was it. I left R&B and never looked back.

On Record Store Day, Saturday, April 16, Goldmine is giving away a prize music package for our readers courtesy of Sony Legacy — one of each of the following pieces of vinyl:

• Jimi Hendrix – 7” “Fire” b/w “Touch You” (read our review)
  
• Peter Tosh – 7” “Legalize It” b/w “Equal Rights”
  
• Roy Orbison – 7” “Only The Lonely” b/w “Oh, Pretty Woman” (read our review)
  
• Bob Dylan - Live At Brandeis.

TO ENTER: The “Goldmine Giveaway Record Store Day sweepstakes” (“Sweepstakes”) begins on Record Store Day at 12:01 AM Eastern Time (“ET”) on April 16, 2011 and ends at 11:59 PM ET on April 16, 2011. There are two ways to enter: “Like” the Goldmine Magazine fan page on Facebook http://www.facebook.com/goldminemag and then post to our wall or leave us a comment briefly explaining what makes Record Store Day special to you. Entrants who already “Like’ Goldmine Magazine need only to leave a comment on the Goldmine Magazine Facebook fan page during the sweepstakes entry period prior to 11:59 PM ET on April 16, 2011. Or “Follow” Goldmine Magazine  on Twitter http://twitter.com/goldmine_mag and tweet what makes Record Store Day special to you, during the sweepstakes entry period prior to 11:59 PM ET on April 16, 2011. Entrants who already “Follow’ Goldmine Magazine need only to tweet Goldmine Magazine during the sweepstakes entry period prior to 11:59 PM ET on April 16, 2011.

NOTE: This is a different giveaway than our monthly Goldmine Giveway.

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TO ENTER: The Goldmine RECORD STORE DAY Giveaway Sweepstakes (“Sweepstakes”) begins at 12:01 AM Eastern Time (“ET”) on April 16, 2011 and ends at 11:59 PM ET on April 16, 2011. To enter, “Like” the Goldmine Magazine fan page on Facebook http://www.facebook.com/goldminemag and then post to our wall or leave us a comment briefly explaining what makes Record Store Day special to you. Entrants who already “Like’ Goldmine Magazine need only to leave a comment on the Goldmine Magazine Facebook fan page during the sweepstakes entry period prior to 11:59 PM ET on April 16, 2011. Or “Follow” Goldmine Magazine  on Twitter http://twitter.com/goldmine_mag and tweet what makes Record Store Day special to you, during the sweepstakes entry period prior to 11:59 PM ET on April 16, 2011. Entrants who already “Follow’ Goldmine Magazine need only to tweet Goldmine Magazine during the sweepstakes entry period prior to 11:59 PM ET on April 16, 2011.
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Blues rock guitarist Lance Lopez has been a professional musician since the age of 14 when he began playing local clubs in and around New Orleans. And since the age of 17, as a guitarist, Lopez has toured in groups led by the likes of soul legend Johnnie Taylor and blues icon Lucky Peterson. In August of 1999 Lopez won the Southeastern Regional JIMI HENDRIX Electric Guitar competition in New Orleans sponsored by EXPERIENCE HENDRIX. Lance Lopez’ latest album is “Salvation From Sundown,” released in 2010.

Interview conducted by Pat Prince.

What was it like touring with greats like Johnnie Taylor and Lucky Peterson at such a young age?
Lance Lopez: It was the best music school I could have ever gone to. With J.T. (Johnnie Taylor) it was the legendary “Chitlin’ Circuit” which was the same circuit Jimi Hendrix had been a side man on 30 years before me with the Isley Brothers, Solomon Burke, Jackie Wilson, and Little Richard. I met alot of the same people. like Gorgeous George, who were still there from when Jimi was there…that’s how I found out he had been a sideman before he went to England, I never knew that before. With Lucky Peterson it was amazing musically, he is an amazing musician and performer. His was the first band I ever went to Europe with and started travelling around the world, and playing giant Jazz and Blues Festivals. I learned quite a bit from Lucky and by the time I left his band I was the Musical Director (Band Leader). I took a brief hiatus from Lucky’s band to go and play with the Buddy Miles Express, but I came back from a brief stint with Buddy. I had to grow up really fast out there…not only in real life, but also musically.

Did you expect to win something like the Southeastern Regional JIMI HENDRIX Electric Guitar competition? Other guitarists of note in the competition? Did you have to sound like Hendrix?
LL: Well when I entered that thing back in 1999 I only wanted to find other guitar players that loved Jimi as much as I did. I won the semi-finals in New Orleans and then went out to L.A. and jammed with everybody, some other kids won out there. But I was already talking to Billy Cox about working with he and Mitch Mitchell before this competition thing even took place. I had made contact with Billy while I was working with Buddy Miles. So when I got out to L.A. everyone saw, including the judges, that me and Billy Cox knew each other already so I think they gave it to the other kids so it didn’t look rigged (laughs) not that the others were’nt great, but you could just tell every one started thinking it was rigged because I showed up and was sitting at the table with Velvert Turner, Billy Cox and Mitch Mitchell…who I all knew from working with Buddy Miles. It was great though, we had fun. Some of the other guitars are still in touch with me on Facebook.

Of all the touring, what artist made you feel most welcome?
LL: B.B. King…period. B.B. was the nicest, most loving, supportive and inspiring person I ever worked with. I sat with him on the Bus for a very long time and just talked about everything. I was playing Stratocasters back then and that was the only negative exchange we had. B.B. said “all the young guys got beat up Stratocasters now, you need to be playing Gibsons” (laughs). And also Billy Gibbons and everyone else in the ZZ Top camp. I’ve known Billy since I was 16 but we finally got to work together a couple of years ago. Billy also told me…”it’s time for you to get a Les Paul…it worked for me.” (laughs) Both of them were so supportive and gave me the most advice.

Do you like the term Blues-Rock?
LL: Yes I do. It pretty much sums it up. Someone in Arkansas actually told me one time I was Blues-Metal (laughs) but whatever (laughs). I am heavily influenced by those two genres of music the most. And now I think it is it’s own genre. Sort of like “Young Country” has. But as far as what has happened to Country music the past few years — becoming more mainstream and pop-like — I hope that doesn’t happen to Blues. I mean, I hope Blues gets as mainstream but not pop-like. With Country music, they mixed it with pop music — and with Blues it’s being mixed with Rock and Classic Hard Rock to create new sounds. It sure has come long way since Stevie Ray Vaughan helped resurrect it in the 1980s.

How does this new album differ from past material?
LL: Well, for one thing, it’s produced by Jim Gaines who really helped me pull it together and make everything solidified and polished. I mean Jim did alot of classic records like “Fly Like an Eagle” by Steve Miller, “In Step” by Stevie Ray Vaughan and “Supernatural” by Santana, and tons of other great Blues records. I had alot of the songs written for many years, but I had never got a chance to record them. The previous label I recorded for were more into Hendrix-y sounding material and never gave me the chance to to record ballads or use keyboards or just play some great Blues songs. So this was really great to finally record some of the ballads and just get back to my roots and record what I had been playing in bars, roadhouses and clubs in Texas and Louisiana and everywhere else around there for years. I think the follow up will be even better.

What is the meaning behind the title, “SALVATION FROM SUNDOWN” ?
LL: Well there was a dark period in my life and light was always there I just had to find my way back to it, and I did that before it was to late so to speak. The actual title track “Salvation from Sundown” is about a love affair with Drug and Alcohol addiction and how it started off like a good affair but ended badly and I had to save myself from the consequences.

Who’d you most like to record with? Tour with?
LL: I would have to say one of three people Eric Clapton, Jimmy Page, or Jeff Beck. They have all been a major influence on my music. It would be great to work with one of them. And also it would be great to work with Billy and ZZ Top again as well.

What musical genre now inspires you most?
LL: I’ve been really into Classic Hard Rock lately… but I always end up back with the old Blues records.

Do you collect vinyl? Old records?
LL: I used to have a lot of real cool vinyl. But I am getting back into it and trying to find a really good turntable at the moment. I still have the original copy of “Are You Experienced” that I first heard when I was 10 years old

What was the first album that you ever bought?
LL: My mother took me to Hastings Records and Tapes in St. Vincent’s Mall in Shreveport, Louisiana when I was about 3 years old and bought me the 45 vinyl single of “Flash Gordon” by Queen for the Soundtrack of the movie Flash Gordon (laughs). He was my childhood hero. But Brian May’s guitar harmonies were what I really loved.

Could you ever imagine yourself in another career? Did you ever?
LL: Yes, I would be a chef…I love food (laughs) and yeah I’ve done tons of other jobs. One of the coolest jobs I had was running a shop in Dallas called CD Source which was a buy, sell and trade used CD store…it was great!!!

What’s next for Lance Lopez?
LL: I’m going in after the first of 2011 and begin recording the follow-up to “Salvation to Sundown” and just try and stay on the road as much as I can and play as much as possible all over the world.

Lance Lopez started a Spring Tour from his home state of Texas on March 4. For more information go to www.myspace.com/lancelopez