In the tradition of “bluesmen” before him, including Muddy Waters (McKinley Morganfield) and Taj Mahal (Henry St. Clair Fredericks), Kevin Moore adopted a stage name early on in his career, embracing his African-American heritage and the phonetic spelling of his given name. As Keb’ Mo,’ he masterfully intertwines the spirit of the blues with the contemporary singer-songwriter movement. His ability to captivate broad audiences has earned him multiple Grammy awards and a reputation as the ultimate contemporary blues artist.
Kevin and I first met five years ago, but my wife has known him twice as long from when she worked for the Nice Jazz Festival in France where he performed. Being the warm and gracious gentleman he is, he instantly welcomed me into his life like an old friend. We have maintained that status ever since, developing a genuine friendship that goes well beyond our common interests as musicians. Three years ago, we started a “post NAMM hang” tradition. This year, the three of us went to dinner and then on a trip through “the hood” of East L.A. His son was performing at one club, and later Kevin graciously accepted to play a spontaneous set for a small but appreciative audience next door at the legendary Babes and Ricky’s Inn. Prior to the evening’s escapade, we sat in his living room and talked.
Ravi on behalf of the Music & Sound Retailer: Tell me about your first guitar?
Keb’ Mo’: It was from Sears and Roebuck—a Silvertone that cost $25. I hollered at my father to buy it for me so he did, but only after I had gotten two weeks of guitar lessons from my Uncle Herman, Herman Wyatt. I was able to use my uncle’s guitar during that time, but he lived in Northern California and I lived in Southern California, so when I got home, I needed a guitar. I was just 11 and couldn’t get a job, so I had to beg for one.
Ravi: Did you take any more lessons once you had your own guitar?
Mo’: I took three or four after that, but mostly I learned from my friend Stanley. He was taking lessons.
Ravi: What was your next guitar?
Mo’: I got my second guitar at a pawn shop—another Silvertone. I liked that Silvertone sound. I don’t know what it was, but it was a very “cost effective” guitar. The Fenders were always way out of my reach, but Silvertones and Kay Guitars were in my realm of financial possibility. So, my second guitar cost $50; a pawn shop guitar from Sears. It was an electric—a two pick-up job with a whammy bar.
Ravi: Do you still have your first?
Mo’: One like it. It’s not a replica, but it is one from the same line. In fact, I have both of them—the first and the second one—but not the actual ones that I had. I actually found them in different stores many years later. One I just got last year and the other I have had for about four years; I found one in Santa Monica at True Tone Music and the other in Chicago at a store called Midwest Buy and Sell.
Ravi: Did you just buy them for nostalgic reasons?
Mo’: No, I like the way they sound. There is something about those guitars. When I played them, I guess the sound was just very familiar.
Ravi: Do you use them professionally? How much did they cost?
Mo’: Yeah, I have one of the Silvertones out on the gig. Both of them were about $250 each. What’s interesting is that if you look at the price, they cost about the same as they did then, considering inflation. My first one was bought in 1963 and the second was probably around 1968.
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