The rawness and the richness of music on vinyl almost went away, but it still seems to be on a lot of people’s radar, and for good reason. It does something different than more accessible means of music playing, like MP3 players and downloads and whatnot. You get in front of these archaic contraptions that go ’round and ’round.

Did Muddy Waters play an acoustic? Well of course he did. But did he turn his back on being able to plug it in and play louder? No, he plugged in and turned it up and got miles and miles ahead of the game in one fateful act of just plugging in.

The rawness and the richness of music on vinyl almost went away, but it still seems to be on a lot of people’s radar, and for good reason. It does something different than more accessible means of music playing, like MP3 players and downloads and whatnot. You get in front of these archaic contraptions that go ’round and ’round.

Brian Eno and Robert Fripp's foray into some artful excursions into some ethereal electric experiments. There was a lot curious activities emerging in London, Amsterdam, and Berlin back then developing some fiercely fuzzy of synth-like effects way outside the norm which really blew the lid off things.

A blown-out tube ripped some of the grind from the amplifier, throwing us into a momentary tizzy. The unusual sound led me to play unusually, and the recorded take turned out to be a keeper. Insriration can come from the most unlikely places ... keep your head on and your ears open.

In 1950, the biggest amp you could get was no bigger than a tabletop radio.

ZZ Top did get a chance to play with Lightnin' Hopkins and Jimmy Reed, there's still that one, single song we just can't shake... J.B. Hutto's "Combination Boogie".