Feature Photo: Arthur Adams – courtesy of GlassOnyon PR
He’s played alongside the likes of Nina Simone, B.B. King, Jimmy Smith, and droves of other transcendent musicians throughout a 66-year career. But now, Arthur Adams is back again with a new set of songs titled Kick Up Some Dust.
As a preeminent session player and deft songwriter, Adams aided in shaping the sound of the blues and beyond throughout the late 50s, 60s, and ’70s before pivoting to soul-based music in the late ’70s. Indeed, Adams once again proved his mettle, showing the world that he was far from a one-trick pony.
Of course, anyone who has feasted their ears on Adams’s tried and true blend of floor-stomping, groove-filled, soulful blues knows full well that a new record is just what the doctor ordered. And so, for fans of B.B. King, Albert King, and Ann Peebles, you’ll be right at home here.
In support of Kick Up Some Dust, Arthur Adams dialed in with ClassicRockHistory.com to dig into his songwriting process, guitar approach, lessons learned from playing alongside Nina Simone and B.B. King, and beyond.
Tell me about the origins of your new record, Kick Up Some Dust.
I like to write songs as I observe people and the things I hear them say. I start with one song, get with the arranger, work out the rhythm charts, get with the band, and rehearse the song until it feels right. Then we go to the studio and record it. Each song is done that way until the album is finished.
How do you feel you’ve progressed from your last record, if at all?
Good songs are important, so I’ve done my best to have good quality songs on this album, and I’m always progressing to take my producing, writing, musicianship, and singing to the best of my ability on this album.
What is your compositional process like? Do the lyrics come first and then guitar?
Sometimes when I take a walk, I get an idea; for example, one day, I was walking, and I started singing, “If I could get my feet in the door.” I sang it until I got home, and I taped the melody, and I finished it and recorded it. Likewise, I used the same process with “Get You Next to Me;” B.B. King and I recorded it together. Most of the time, a song title comes to mind, like something that I heard someone say. When I wrote “Love and Peace,” recorded by Quincy Jones, I went into my closet that was in my bedroom, wrote it, and taped it.
Which songs on Kick Up Some Dust are your favorites, and why?
My favorite songs on the record are “Hold on to Me” because it tells the story that’s part of life; the ups and downs and struggles, but I can make it. Also, “It Makes Me Mad.” Everyone can relate to it because everyone gets mad sometimes. “Fly with Me to Paradise” because many people would like to go to a beautiful place where they will enjoy themselves and have fun.
What did you learn from working with Nina Simone, and how do you apply that today?
I learned that working with Nina Simone, you need to be able to play many different kinds of music – jazz, folk, country, gospel, R&B, and blues. Nina is one of the most prolific and talented artists that I’ve ever worked with. I had to learn over forty different songs playing guitar and bass. I had to teach myself how to play bass. During her live shows, I would switch from guitar to bass. She was having arthritis pain in her left elbow from playing bass on the piano.
How did working with B.B. King shape you as a guitarist?
Working with B.B. King and listening to him shaped me tremendously. When he is singing, his guitar playing never gets in the way of his vocals. His guitar playing always complements his singing – sometimes you don’t notice it being there, but it’s there! He makes his guitar sing. That’s what I try to do. I’ve learned from him to live every note I sing and play.
Describe your approach to the guitar. Are you one to play from the heart or the head?
My approach to the guitar is as simple as can be. I learned how to tune the guitar by taking lessons from the mail; after learning each string position – E, B, G, D, A, E – I started listening to Howard Carroll of the Dixie Hummingbirds, and as I started playing in clubs, I learned where different keys were on the guitar and started playing from the heart.
How do you go about dialing in your tone? Do you use pedals and effects, or are you more traditional?
It depends on which song I’m playing. I use my high tone sound if the song calls for it, such as “Starvin’ for Your Love,” and my low tone sound on “Fly Away with Me to Paradise.” I have some pedals; however, I am more traditional. I used my high tone on “It Makes Me Mad.”
Are you one for vintage guitars or new? How about amps?
I like both styles of guitars – vintage and new. I use the new Fender Strat and the old Gibson 335, and I used my Fender Twin Reverb amp.
Is there one guitar that means the most to you, and why? What guitars did you use on the new record, and how did they best affect the sound of this album?
The Gibson 330 means the most to me because it has stuck with me through thick and thin. I remember carrying it and my handbag after a gig in about five feet of snow. I slipped and fell; my Gibson 330 went one way, and my bag went another! My 330 was still ready for the next night’s gig! I used the Gibson 335 on “It Makes Me Mad,” “Kick Up Some Dust,” and “Starvin’ for Your Love.” I used the Fender Strat on “Hold Onto Me,” “Fly With Me to Paradise,” and “I Love You More.” I really just go with what feels and sounds right.
What’s your secret to the perfect blues riff and solo?
My secret to the perfect blues riff is that I think everyone should carry on with their sound and styles, and most blues players will naturally incorporate some B.B. King, Stevie Ray Vaughan, Elmo James, Buddy Guy, and more.
What about today’s blues scene excited you most, and what concerns you most?
What excites me most is that the blues does not seem foreign to the majority anymore; you hear it everywhere, thanks to those who have paved the way! I have no concerns. The blues is in good hands.
Arthur Adams Interview article published on Classic RockHistory.com© 2023
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