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Tuesday December 18th, 2001
Kenny Olson Gets Cocky about his Gibsons
by Lisa Sharken
As a native of the Detroit, Michigan, suburbs, guitarist Kenny Olson grew up with an affection for the indigenous traditions of his surroundings - muscle cars, classic rock and Motown music, and the classic guitars of his youth. A guitarist from a young age, Olson savored the sounds of the variety of Gibson instruments built at the nearby factory in Kalamazoo and being played by his favorite musicians. He got his first Gibson as a gift from his father, then began to pursue his musical dreams with full force.
Olson honed his chops playing in local bands and found his ultimate gig when he teamed up with an up-and-coming local artist, rocker/rapper Kid Rock, and became a core member of Rocks band, Twisted Brown Trucker. The groups success soon led to numerous opportunities for Olson to lay down his fiery riffs amidst an assortment of top name artists including Chaka Khan, ZZ Top, Biff Naked, Double Troubles Tommy Shannon and Chris Layton, Jimi Hendrix Experiences Buddy Miles and Billy Cox, and Aerosmith.
Olson described his colorful background as a player and the life experiences which have motivated his choices in gear and fueled his affections for particular classic instruments - like the assortment of Gibson Firebirds, Les Pauls and SGs that loaned themselves to various tracks on the new Kid Rock record, Cocky [Atlantic], and will be accompanying him on the groups upcoming tour.
When did you start playing Gibson guitars?
Well, being a vintage guitar freak, Ive always collected guitars of all sorts. When I was a kid, my dad gave me my first Gibson, which was an old Southern Jumbo. To me, Gibsons are like a pair of Levis - a standard of the industry. Being from Michigan, Ive grown up marveling over all these beautiful pieces that have been made by Gibson over the years and their amazing sound. Theyve got so many different guitar models that have so many different unique sounds. They have made such classic impressions on the world and, of course, Ive been drawn in by them.
Which ones are you currently using?
Since I was a kid, Ive always been drawn in by Gibson Firebirds. But because it was not a guitar that was produced on a heavy level, they were popular in the early to mid 60s, a little bit in the late 60s, and then they disappeared. I think that was due to the popular demand of the SG, Les Paul and other miscellaneous models. The Firebird was kind of forgotten about, even though there were the greats like Johnny Winter, Eddie Hazel from Funkadelic and Phil Manzanera from Roxy Music who were out there playing them. Id grown up seeing amazing players with the Firebird and I just always loved the sound of them and the way they looked. The Gibson Firebird was actually developed by a car designer from Detroit back in the early 60s and as an old muscle car and motorcycle freak from Detroit, that was an attractive thing about the guitar, too.
Gibson Firebirds
V and '65 VII
The Gibson Custom recently made me two amazing Firebirds - ones a V and ones a '65 VII. I ended up using them on the tail end of a lot of stuff on the new Kid Rock record, Cocky. As soon as I got them, I was just blown away and I immediately had to go into the studio and use them on some of the tracks. I took one out to do something with the Band Of Gypsies guys - Buddy Miles and Billy Cox - and the Double Trouble guys - Chris Layton and Tommy Shannon - when we did the Hendrix tribute out in San Diego. Theyre also making me a really cool non-reverse Firebird with P-90s and a flametop Les Paul that Im really excited about. In addition, Ive got a new SG and it sounds great. I have an older SG, too, which is a late 60s model, but Im not sure exactly what year it was made. Its been through the mill and has been broken a few times. Its a guitar that was very beat up when I acquired it, but it just sounds great and I love it. Ive owned a lot of different Gibsons over the years. A long time ago, I had a black 68 Les Paul Custom with the P-90s in it. It had an amazing tone and I regret ever getting rid of that guitar!
Im really happy to be involved with the Gibson family. I recently had a chance to go to the factory and meet the great people who make these fine guitars at Gibson Custom. They make the guitars using all the old machinery from back in the 50s and 60s, putting the guitars together like they were meant to be. It was truly a mind blowing experience. Theyre really great people, making a great instrument. Each one has its own unique sound and brings out different characteristics of my playing and for me, its a win-win situation with whatever model that I use. Theres something about the design, finish, hardware and tone of those classic instruments and the way that the company puts those guitars together today. The craftsmanship is just dead on to the tradition thats always been happening at Gibson.
What do each of the different models bring out in you as a player in terms of style and tone?
It really depends. A Les Paul will sometimes just make me want to rock out, while other times, I get these smooth and mellow tones that are useful for other stuff. A Firebird is a little brighter-sounding and has its own unique signature tone. It's a great guitar for rock and twangy blues. It's got this great juicy tone with bottom end and bright perky highs like a fine woman. They kind of possess me and take me over. The Les Paul just has that fat signature sound - its the Les Paul sound. There are so many guitars that are made to sound like a Les Paul, but a Les Paul doesnt sound like anything else. The SG and the Firebird are all guitars that have their own unique signature tone.
"There have been so many amazing guitar solos that Ive heard played on Gibson guitars and history has proven itself with the instruments."
Who were the players that influenced your personal guitar tone? How have your preferences for tone affected your choices in gear?
I was greatly influenced by the tones of players like Jimi Hendrix, Johnny Winter, David Gilmour, Robin Trower, Frank Zappa, Roy Buchanan, Mike Bloomfield, Jeff Beck, Jimmy Page, Joe Perry, the Rolling Stones, the MC5 and the Stooges. These are guys that get a hold of a Gibson and just make it scream. Theyre all players who have such distinct styles and tones. All these great players from the 60s and 70s were the pioneers who created the great tones. A lot of the tones come from their fingers, as well as the equipment they were using. I think theres something about sticking with the classic instruments that created those great sounds that Im dear to. I like old vintage stuff and Im not really drawn to modern guitars in the same way. Im much more of a fan of the old classic designs, finishes and hardware. But I do like some of the new ideas that companies are using to improve certain things about the older instrument designs to make them more useful for the modernistic styles of playing. Im always open to that.
There have been so many amazing guitar solos that Ive heard played on Gibson guitars and history has proven itself with the instruments. From Angus Young with his SG in AC/DC to Leslie West playing Mississippi Queen on a Les Paul Junior to the numerous Zeppelin riffs Jimmy Page played on his Les Pauls and the classic Aerosmith riffs (by Joe Perry) that were all done on Les Pauls. They cant be surpassed. Of course, Fender Strats and Teles have made their own unique impact on rock and roll, too. The Teles got that signature twang tone and the Strat has got its own essence. But Gibson has got a such a vast amount of models like Les Pauls, SGs, Firebirds, Flying Vs, ES-335s and various hollowbodies like Switchmasters and L-5s. If you think about how many classic riffs in history in all different styles of music have played on these instruments, its just awesome.
How do you like your guitars to be set up? Does the setup vary from guitar to guitar?
It does vary from guitar to guitar. There are some guitars that I have that are tuned down a half step, so I have heavier strings on them to keep the string tension consistent. There are guitars I tune to 440 Hz that I use a different gauges on. For example, I have heavier strings on guitars that I have tuned to dropped-D. Both of my Firebirds have the old Maestro Deluxe tremolo - which I think is a really cool thing - and I usually use .010s or .011s on them. I like to have the action set up at about medium height. I think that if the action is too low, it takes away from the tone of the instrument. Additionally, if the instrument is too easy to play and theres no challenge, then it takes away from the feel of the riff. I think there needs to be a little bit of a fight to achieve a good performance.
What kinds of things do you do to warm up for a live performance?
I some physical stretching to loosen up and I stretch my neck so I dont get a head-bang hangover. Ill play a few of my favorite licks that entail some dexterity to get my fingers warmed up a little bit. Ill usually do that when I grab the guitar and put on the intro tape as were going on. I dont really have a big warm up routine.
What is it that you like most about each performing live and working in the studio?
Theres nothing like playing live - its amazing. But creating a record in the studio is also an incredible experience. Theyre two different perspectives to me, but both are hands-on situations, where Im playing guitar and the ultimate result is that I want to play from my heart and to be heard. I think that both environments offer very magical experiences.
"The old music just sticks out for me like a fine wine and the old records are like my fine wine collection." What kind of music do you listen to for enjoyment?
I listen to everything, really. But I tend to lean towards what I grew up on as far as listening pleasures. I have a huge album collection of classic rock and blues through all the eras. I have everything from Jimi Hendrix to Miles Davis to Black Sabbath to Tom Waits to the Stooges to Roy Buchanan to Aerosmith and I have old blues records from the beginning of the blues on. To me, its like a wine cellar. I do like a lot of the newer music, but its like going to the store and buying a case of beer that you like for the moment. The old music just sticks out for me like a fine wine and the old records are like my fine wine collection.
The old stuff just keeps me in tune to where I came from. Ill put on an old MC5 record or old Stooges and then having that going through my head as Im flying down the road in an old GTO. Stuff like that inspires me. But I do like a lot of different stuff, too. R&B is something I cant leave out either because its a big part of where I come from. I love listening to R&B singers. Detroit is both a rock city and Motown city, so Im equally influenced by both. I recently had a chance to meet Chaka Khan and do a song with her on a new Hendrix tribute record and Im really excited about it coming out. Shes one of my favorite singers in the world and to get a chance to work with her and so many people that Ive looked up to, its so incredible. Its an honor.
"Guitar players need to learn to take from more than just trying to imitate some guitar player." What advice would you give someone on creating their own sound and style and identity as a player?
First of all, I think its important to know how to play scales on the guitar. That will enable you to hear something, then pinpoint where it is on the fingerboard. But as far as developing your own sound and style, I think it kind of has to come to you self-consciously. I started playing guitar to accompany myself as a singer. I never sat down and tried to learn how to play everyones song note for note. Sure, I took a lick from here and there, but everyones taken from somebody - even the people that have changed the face of guitar. Jimi Hendrix loved Bob Dylan and all the old blues greats, as well as the old jazz musicians. Guitar players need to learn to take from more than just trying to imitate some guitar player. I think that for the newer players will have a better chance to develop their own style by listening to the older players, instead of just listening to the newer ones and copying them. People cant be afraid to take something like Miles Davis Bitches Brew and not only learn what John McLaughlin is doing on the guitar, but try to learn the horn lines. Or listen to a piano player or John Coltrane and try to feel what theyre feeling on the instrument theyre playing. Or listen to a John Cage record and all the sound effects hes making then think about that in your head when youre playing and feeding back. Those are the kinds of things that help to influence me. Everyone should listen to an old classical record, too, like Brahms, and take from that. Youve just got to listen to everything out there and then subconsciously absorb it.
To really develop your own sound and style, you have to be able to separate all thats around you and become one with your guitar. Look at Carlos Santana - if he played on a country record or on a heavy metal record, youre going to know that its Carlos Santana playing. Or when someone like Keith Richards, Billy Gibbons or Gregg Allman plays, you know its them. Theyre all players that have a unique sound that stands out. Thats a gift. There was a time in the 60s and 70s when a whole flock of guitar players came out and they all had their own thing going on, but then it started dulling off. In the 80s, Eddie Van Halen came out and Randy Rhoads came out and started a whole new thing in that era. Then you get in the 90s and there was a return of a lot of the old stuff. Now everyone is trying to fuse everything together - they try to take from the rock, the funk, the blues and the punk, which is cool. It keeps music from getting stale.
"I think every lead guitar player comes out of the womb and overplays." What advice can you offer to other musicians about playing a supportive role in a band, where its your job to back up the star of the show?
Ive had my own band where I was the lead singer and the guitarist. Thats something that I will one day do again. But at the same time, for a lead guitar player, its a lot easier to focus on your playing when you have a great frontperson. As a guitarist, Ive had the chance to work with so many great singers, but you have to know your place in the band and be a team player to earn that.
I think every lead guitar player comes out of the womb and overplays. But as you get more seasoned, you learn that one tasty note says so much more than playing a bunch of fast notes. And in a band, when someone is not being a team player, they just turn the song into a train wreck. As a lead guitarist, its your job to listen to the lead singer and accent off of what theyre doing. If you just try to outdo the main person and impress everyone with your great lead guitar playing, then youll end up sucking and losing your gig. Its your job to shine when its called for.
You definitely want to put yourself in a situation where youre playing with a great singer, but then you have to have the discipline to know when to play and when not to play. That is a key thing. Im lucky. Ive got a great gig. You listen to a song like Only God Knows Why or a lot of our songs where I may not have a main solo, but Im putting in little lead riffs throughout the song and theyre around a vocal part. For me, by taking that tasteful approach to playing, Im able to get away with doing things like that. If I was too indulgent and not listening or playing too loud and not playing dynamically or fitting in with the song, then I wouldnt be able to do stuff like that. So I had to earn my right to be able to do that. When you play with different people, youve got to show them that you have taste and discipline.
Lisa Sharken is a New York City based freelance writer. She regularly contributes to national guitar and music media as well as gibson.com.
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