TexiCali marks the newest chapter within the partnership of L.A. roots-rock vet Dave Alvin and revered West Texas singer/songwriter Jimmie Dale Gilmore – previous buddies who had appeared on the identical exhibits, however by no means collectively. After Gilmore’s agent advised they struggle teaming up, in 2018 they recorded Downey to Lubbock.

The alliance shocked some.

“Dave has followers that go, ‘Why are you playin’ with him?’ and my followers stated, ‘What are you doin’? That man’s loud!’’’ Gilmore laughs.

“We had quite a bit in widespread,” Alvin provides. “However issues are totally different about our approaches to the identical music that makes it enjoyable and fascinating. Jimmie is such an evocative singer – one of many nice trendy blues singers.”

Within the ’60s, they each frolicked on the Ash Grove, L.A.’s people and blues membership and have become pleasant with blues icons Lightnin’ Hopkins and Brownie McGhee. However they by no means met.

After Downey to Lubbock went easily and was well-received, they began discussing a follow-up. Then got here the uncertainty of the pandemic, and Alvin was briefly taken out of fee by Covid.

On TexiCali, they delve into the Southwest mystique and reimagine some previous tunes, backed by Alvin’s band, the Responsible Ones – guitarist Chris Miller, drummer Lisa Pankratz, and bassist Brad Fordham.

For his or her first session at The Zone, within the Texas Hill Nation, Alvin didn’t deliver an acoustic however used a Martin D-28 that occurred to be on the studio and owned by legendary singer/songwriter Ray Wylie Hubbard. He later introduced his road-favorite Martin DC Aura and used it on “Betty and Dupree.”

Having retired the venerable ’64 Strat he used with the Blasters, Alvin is now utilizing his Dracocaster, a replica made by buddy Drac Conley. It weighs 61/2 kilos they usually discovered a favourite set of Lindy Fralin pickups for it.

“I’ve acquired a ’91 Vibroverb reissue I’ve been utilizing on my information since I acquired it in ’92,” he provides, shifting to amplifiers. “For some stuff, I had a ’68 Twin Reverb.”

Whereas mixing in L.A., Alvin dubbed solos on “Demise of the Final Stripper,” “Down the 285” and “Southwest Chief,” utilizing a ’68 Deluxe Reverb and a Les Paul owned by engineer Craig Parker Adams, a “…lovely ’68 goldtop with the unique mini-humbuckers.”

“Borderland’s” atmospheric instrumental intro was recorded utilizing the Vibroverb, and “Down the 285” “…was the Dracocaster and Les Paul by way of the Vibroverb. I’m in open tuning. You get the massive, thick chords. That had a whole lot of reverb. However for the solo, I used to be taking part in the Les Paul by way of the Deluxe. I wished guitar to sound like lights within the distance, drivin’ down a darkish freeway.”

Alvin praises Responsible Ones guitarist Chris Miller, who builds his personal devices. “There’s a Dave tone and there’s a Chris tone. They’re very appropriate however very totally different.” Lauding Miller’s nation expertise, he notes, “He can use the identical guitar and play soul or jazz. We’re attempting to combine up these types.”

For Gilmore, who’s steeped in Delta blues and New Orleans R&B, Piedmont-blues legend Blind Willie McTell’s “Broke Down Engine” proved difficult.

“When Dave first performed (the unique), I assumed, ‘I don’t assume I can try this.’ However he stated, ‘Sure you possibly can!’ and I got here to adore it. There’s a melodious high quality to (McTell’s) singin’ that I simply love, but it surely took some work to seek out it, vocally.”

Alvin gave it a roaring New Orleans R&B association and did likewise with nation legend Stonewall Jackson’s “Why I’m Walkin’,” initially a dismal ballad.

“Blind Owl” honors Canned Warmth guitarist/vocalist and blues scholar Alan “Blind Owl” Wilson (1943-1970), who sang lead on “On the Street Once more” and “Goin’ Up the Nation.” Alvin knew a number of members of the unique band. For the monitor, Miller performed slide atop its boogie rhythms. Alvin calls the solo “my tribute to Magic Sam.”

Reverb comes courtesy of his amps and a TC Digital Corridor of Fame Reverb – his favourite pedal. “For overdrive, I’ve acquired a Keeley-modified Blues Screamer. For digital delay, I used to like Danelectro echo bins, however they’re troublesome on the street.” He now makes use of a TC Digital delay pedal.

His string selections are well-defined.

“Within the Blasters, I used extremely heavy strings – .015, .016.” He now makes use of D’Addario EXL 116, .011 to .052. “They’re nickel-wound and the G string is an .018.”

Alvin and Gilmore are clearly content material with their partnership, however for Alvin, TexiCali is deeply private, particularly the upbeat “We’re Nonetheless Right here.”

“After going by way of three years of remedy, having stage 4 most cancers on the identical time Covid was happening, there have been instances I felt the world, for all us musician varieties, is perhaps over. Many songs on this document – together with one which flat out says it – we’re nonetheless right here, have this underpinning of survival.”

This text initially appeared in VG’s October 2024 concern. All copyrights are by the writer and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.