I look for a deep, gutty feelin’ in a guitar tone. I don’t use picks. People ask, “How you get that?” It’s just there. There’s a lot of people try to play real fast chords—da da da da da—that ain’t the hard, solid blues. It’s synthetic. It has not feeling to it. You sit down and play some funky, funky guitar. Take your time! Don’t rush it. Just let it come flowing through you. I can play guitar so funky, it’ll bring teardrops to your eyes.

    I’ve always liked the Freddie King/B. B. King rich tone, and at the same time, I like the manic Buddy Guy/Otis Rush Strat tone. So I’m always caught in the middle of the Gibson and Fender sounds. If I’m playing my black [Fender] Strat, and I’m in the middle of a blues, I kind of wish I was playing a [Gibson] Les Paul. Then again, if I was playing a Les Paul, the sound would be great, but I’d be saying, “Man, I wish I had the Stratocaster neck!”

    Early on, I figured out that when the top of a guitar is vibrating and a string is vibrating, you’ve got a conflict. One of them has got to stop, and it can’t be the string, because that’s making the sound. So in 1934, I asked the Larson Brothers—Chicago instrument makers—to build me a guitar with a half-inch-thick maple top and no f-holes. They thought I was crazy.

    You don’t want to play like B. B. King. You want to be you. So what you do is listen to players you like, and try to “borrow” a little bit from each guy. You don’t try to sound exactly like the other guy, you just add the bits to your vocabulary. It’s like learning to read or write.

    My style is to just play. The more “live” you capture your music—the more unthought-out—the more magical it is.

    A different guitar will have different strengths and weaknesses. If you learn how different guitars want to be touched, you have a wider repertoire of tonal technique on all guitars. My guitars were frequently my teachers.