Welcome back to the Deep Dive. This is where
we take the sources you provide and really dig
in to find those surprising facts, those genuine
insights that help you get truly well -informed.
Yeah, absolutely. Today, we're plunging into
the really remarkable career of a musician who,
while he isn't just playing the blues, he's living
it, breathing it, and frankly redefining it,
Kevin Roosevelt Moore, who the world knows as
Kebno. It's... It's a really compelling journey
we're about to get into because what's truly
insightful here, I think, is how we can trace
not just one musician's evolution, but a vital
living connection to the whole tapestry of American
music history. It's all illuminated by the sources
you've shared with us. This isn't just like a
biographical sketch. It's more of a testament
to how one artist can honor tradition while at
the same time forging an entirely new path. Exactly.
Our mission in this deep dive is really to go
beyond just the surface level. We'll be sifting
through the biographical milestones, his extensive
discography, which crosses genres, by the way,
some truly surprising collaborations, and even,
you know, his very specific equipment choices,
his guitar. The tools of the trade. Yeah. We
want to understand the threads that kind of weave
together to make Keb Mo this singular contemporary
blues legend. And maybe more importantly, why
his influence stretches so profoundly across
so many. musical genres today. So for you, our
listener, we're here to uncover those genuine
aha moments, those insights that connect the
dots of his remarkable career, basically giving
you a shortcut to understanding an artist whose
impact is probably far broader than you might
initially assume. So let's dive right in. The
man behind the moniker, early life and influences.
Okay, so to really get Keb Mo today, we have
to rewind a bit. Back to Kevin Roosevelt Moore's
early life. He was born October 3rd, 1951, in
South Los Angeles, California. Yeah, South LA.
Now for a lot of people, the words blues musician,
you immediately picture what? The Mississippi
Delta, right? Dusty roads, juke joints, that
kind of distinctly southern landscape. Sure,
that's the stereotype. But here we have this
artist deeply rooted in the blues whose formative
years were actually spent amidst the urban sprawl
and the very diverse cultural currents of Southern
California. Which is fascinating. It really is.
This geographical origin, it offers this kind
of counterpoint, a distinct contrast to the stereotypical
birthplace of the blues. But it also sets the
stage for his unique contribution. It shows how
tradition can kind of transcend geography, especially
when those family The streets run deep. And that
geographical nuance, right, coupled with his
urban upbringing, it directly influenced how
he got his iconic stage name, Keb Moe. It wasn't
some, like, grand marketing plan from a record
label. Not at first. Oh, really? You know, it
was actually toined by his original drummer,
Quentin Dinnard. It was just a kind of casual,
you know, street talk abbreviation of Kevin Moore.
Like a nickname. Exactly. Approachable, catchy,
instantly memorable. And what's really insightful
about Keb Moe, I think, is how it became more
than just a nickname. It was this deliberate,
though maybe organic rebranding. It let him shed
any sort of lingering R &B associations from
his earlier days when he performed as Kevin Moore.
Ah, okay, so it was a conscious shift. It seems
like it, yeah. To step firmly into the contemporary
blues scene as an artist who felt both... deeply
rooted, but also refreshingly new, this was a
really crucial move for an artist bridging traditions.
The name itself signaled this accessible modern
take on a classic sound. It instantly connected
with audiences, but it also differentiated him
from, say, the blues purists. It let him forge
a distinct identity, a brand, really, that felt
authentic to his style. Okay, so his West Coast
birthplace is one interesting layer, but then
his roots, they really anchor him, don't they?
His parents were from Louisiana and Texas. Deep
South roots. And they played an absolutely foundational
role, immersing him in blues and gospel right
from day one. This wasn't just like music playing
in the background, it was a constant, rich, sonic
environment. You have to think about the profound...
cultural, historical significance of blues and
gospel music, especially for African American
communities. These genres are so much more than
just entertainment. Oh, absolutely. They're living
narratives. You know, struggle, resilience, joy,
faith, defiance, deeply woven into the fabric
of American history and personal experience.
Yeah. So for Keb Moe, this early exposure, it
gave him this deep foundational understanding.
It was like his musical mother tongue. It imbued
him with this intrinsic feel for rhythm, melody,
storytelling. It nurtured his talent so profoundly
that, as you mentioned before, he became an accomplished
guitarist by adolescence. Yeah, that's incredible,
by his teens. It really makes you wonder, doesn't
it, how much of an artist's unique voice is forged
in those earliest childhood exposures? And how
much is consciously cultivated later? Right.
Nature versus nurture, almost. Kind of. For Keb
Moe, it really seems to be this incredibly powerful
synthesis of both. A bedrock of inherited tradition
meeting his own personal exploration. That makes
sense. And it's precisely that deep immersion,
that family connection that makes the description
of him as a living link to the seminal Delta
blues that traveled up the Mississippi River
and across the expanse of America. so, so fitting.
Yeah, I like that phrase, living link. He's not
just replicating it, he's channeling it, reinterpreting
it. When we're talking about Delta Blues, we're
talking about its raw, authentic sound of sparse
instrumentation, maybe just solo acoustic guitar,
powerful, unvarnished vocals, and it's profound
storytelling. often touching on hardship, love,
the gritty realities of life. Kebimo deeply embodies
that spirit, but importantly, he doesn't just
emulate it. He bridges this tradition with what's
called a postmodern blues style, which basically
means he takes that core Delta intensity and
fearlessly infuses it with elements influenced
by folk rock, jazz, pop, even country. Wow, that's
quite a mix. It is. He incorporates, say, the
melodic sensibilities of folk. the driving rhythms
and incremental textures of rock, the improvisational
richness of jazz, the catchy accessibility of
pop, and the narrative lyricism you find in country.
So you can actually hear those different elements
in his songs. Absolutely. For instance, you hear
the finger -picked precision and storytelling
of folk music. You hear the groove and sophisticated
chord changes maybe from jazz. You even hear
the slick productions sometimes found in contemporary
pop in his arrangements. But it's all anchored
by that undeniable blues sensibility. Got it.
This blending, this fusion is what makes him
both a respectful inheritor and a genuine originator.
and it ensures the blues stays relevant, stays
vibrant for new generations. This transition
from these deep roots to this really broad experimentation
that truly sets the stage for the diverse musical
journey he ended up taking. From calypso to contemporary
blues, a diverse musical journey. You know, it's
genuinely surprising, though, when you learn
his career didn't actually begin with, like,
a guitar or harmonica. Kevin Moore started out
playing steel drums. Steel drums. Wow. Yeah.
In a Calypso band? I mean, this is definitely
not your typical blues origin story, right? Not
at all. Calypso. It just highlights the truly
expansive breadth of his early experiences. I
mean, imagine the rhythmic complexities, the
melodic interplay, the unique percussive textures
he would have absorbed from playing calypso music.
Yeah, that's a completely different rhythmic
feel. Exactly. This foundational exposure to
such different structures, it undoubtedly enriched
his later blues fusion sound, gave him a unique
edge, maybe a broader musical vocabulary than
many blues artists possess. Makes sense. So after
his calypso days, he moved into the world of
blues and backup bands, mostly through the 1970s
and 80s, gradually honing his craft. But the
intriguing part is, he actually started recording
relatively early. He was just 21 years old. 21?
Yeah, with Jefferson Airplane violinist Papa
John Creech. In an R &B group, actually. Papa
John Creech, okay, that's a name. Right. And
he went on to appear on four of Creech's albums.
Filthy, playing my fiddle for you, I'm the Fiddle
Man, and Rock Father. Wow, four albums. So that
was a significant period. It seems like it. These
collaborations, crossing into jazz rock and R
&B... must have provided this unique apprenticeship,
you know, immersing him in an improvisational,
genre -bending environment really early on. And
that early collaboration with Papa John Creech,
it wasn't just about getting experience, was
it? It led to some significant industry recognition,
a glimpse into the mechanics of popular music.
How so? Well, Keb Mu received his first gold
record for Get Fiddler. It was a track he co
-wrote with Creech for Jefferson Starship's Red
Octopus album. Jefferson Starship. OK. And that
album, Red Octopus, sensationally hit number
one on the Billboard 200 in 1975. Number one.
Wow. So he had a piece of a number one album
way back then. Exactly. Hashtag one album and
a gold record really early in his career. And
importantly, not as a front man, but as a contributing
songwriter. That's a remarkable feat. Yeah. And
it really underscores that even before his major
breakthrough as Kev Moe, the blues artist, He
was already a successful behind the scenes player
in the broader music industry. So he knew the
business side, too. Seems like it. Beyond this,
he also worked as a staff writer for A &M Records.
And he arranged demos for Almo Irving music.
Ah, OK. Staff writer, arranger. Yeah. This experience
would have given him invaluable insights into,
like, the intricacies of hit making, song structure,
music production, the commercial side of the
industry. He wasn't just learning to play. He
was learning the business of music from multiple
angles as a writer, arranger, performer. This
deep, multifaceted understanding, it would serve
him immeasurably later in his career. informing
his approach to his own albums collaborations,
allowing him to navigate the industry with kind
of an insider's perspective. Right, right. Okay,
so despite these, you know, diverse early forays
into Calypso, R &B, staff writing, his commitment
to the blues itself undeniably deepened over
time. His true debut album Rainmaker was actually
released way back in 1980. 1980, okay. Under
the name Kevin Moore. On Chocolate City Records.
Chocolate City, right. A Casablanca subsidiary.
Exactly. But it seems like it was his long and
really formative stint in the hood unit band
that was headed by Bobby Blue Bland's renowned
producer, Monk Higgins, that truly cemented his
immersion in the blues. Ah, Monk Higgins. That's
a serious connection. Yeah. This wasn't just
another gig. It sounds like it was a rigorous
hands on education in the nuances of blues performance
and, you know, the genre's deeply guarded tradition.
Like learning from the source. Totally. During
this period, he wasn't observing he was actively
jamming with legendary figures like the master
of the telecaster Albert Collins and the powerhouse
vocalist Big Joe Turner. Goodness, imagine being
in those sessions. Seriously, imagine the invaluable
lessons learned there. The specific techniques,
the subtle phrasing, the stagecraft, the authentic
storytelling that you can really only absorb
directly from the masters like that. Oh for sure.
These experiences were absolutely crucial for
him to be seen not merely as a talented guitarist,
but as an inheritor of a guarded tradition and
as a genuine original within the blues world.
He was absorbing the history of the soul, the
sheer feel of the genre, shaping his own unique
voice within that rich lineage. And if that wasn't
enough to kind of round out his artistic development,
his journey also extended beyond purely musical
performance and into the theatrical realm, which,
interestingly, profoundly shaped his public identity
and his stage presence. Theater, how did that
happen? Well, from 1990 to 1993, he appeared
on stage in various acclaimed productions of
George C. Wolf's musical Spunk. Spunk, okay.
Yeah, it's an adaptation of Zora Neale Hurston's
iconic stories. Ah, Zora Neale Hurston. In the
play, he took on the pivotal role of guitar man.
And significantly, he performed all the actual
music for the production. So he was literally
the guitar man on stage. Exactly. And this experience,
it wasn't just a side gig. The character of guitar
man became, like, the foundational template for
his later stage persona as Kit Mo. That's fascinating.
So theater informed his music persona. Absolutely.
What's really compelling here is how these diverse
experiences can profoundly shape an artist's
core identity. Hurston's stories, you know, they're
rich in southern black. folklore and dialect,
they naturally resonated with the blues tradition.
It offered a perfect narrative context for his
music. Yeah, I can see that connection. And the
stage presence, the narrative delivery, the intimate
connection with an audience that he developed
as guitar man in a theatrical setting. That undoubtedly
refined his ability to engage listeners on a
deeper, more personal level later on. It wasn't
just about playing notes. It was about embodying
a character, telling a story, conveying emotion
skills that became really intrinsic to his distinct
performance style. It basically set the stage,
literally, for his later success. Wow. It really
makes you think about how non -musical endeavors
can unexpectedly become cornerstones of an artist's
identity, doesn't it? The Grammy Trailblazer?
Yeah. Kebsmo's acclaimed albums. Okay, so all
those incredibly varied experiences, the Calypso,
the R &B, the Jamming with Legends, the theater,
they finally coalesced into the pivotal self
-titled album that truly launched Kebmo into
the public consciousness. That was 1994. 1994,
Kebbrill. Released on Okie Records, which was...
a vintage revival division of Sony music at the
time. OK, yeah. A legendary label name. In this
album, it was more than just a debut. It felt
like a profound declaration of his blues identity.
powerfully featured his interpretations of two
Robert Johnson classics. Come on in my kitchen
and kind -hearted woman blues. Robert Johnson,
going right to the source. Exactly. For those
of you out there who really appreciate deep musical
lineages, the art of reinterpretation, this was
a clear moment. A new artist firmly planting
himself within a vital tradition. His own statement
in the Martin Scorsese miniseries, The Blues,
where he explicitly says he was greatly influenced
by Johnson, just underscores this connection.
His versions, though, they weren't mere copies.
No, they had a stamp. Yeah. He infused them with
his warm, approachable vocal style, his clean,
finger -picked guitar work, making them accessible
to a contemporary audience while still retaining
their raw, emotional core. Right. It's also interesting
that he was apparently spotted by Steve LaVere,
who owns the publishing rights for the Robert
Johnson catalog at the Long Beach Blues Festival
around that time. Ah, okay. So the connection
was recognized. Seems like it. This isn't just
about covering old songs. It's about channeling
their spirit, ensuring their legacy, bringing
them to a new generation through his unique lens.
It really affirmed his place in the blues canon
right from the start. And that pivotal self -titled
album, it immediately set the stage for really
rapid critical acclaim and widespread recognition.
He followed up pretty quickly with Just Like
You in 1996. His second album under the Keb -Mo
moniker. It featured 12 songs, still brimming
with those distinctive Delta rhythms, but now
maybe polished with a bit more of a contemporary
sheen. What truly stands out here is the immediate
and significant critical recognition this album
got. It won his first Grammy Award. Best Contemporary
Blues Album in 1997. His first Grammy. quickly.
Yeah, it wasn't just an award, it was a clear
validation of his unique approach. That blend
of traditional Delta sounds with his modern sensibilities,
it was clearly resonating, powerfully. with critics
and listeners alike. And beyond the awards, the
album also featured guest appearances from some
highly respected artists, Jackson Brown and Bonnie
Raitt. Wow, Jackson Brown and Bonnie Raitt on
his second album. That's huge. It really was.
Their willingness to collaborate with him so
early in his Keb Mo phase was a clear signal
of his rising star power. the immense respect
he already commanded within the industry. Yeah,
that's serious validation. Imagine the artistic
dialogue happening there. Bonnie Raitt, with
her own deep blues and folk roots, and Jackson
Brown, a singer -songwriter icon, lending their
voices to an artist whose sound was both familiar
and fresh. It was a clear breakthrough. Established
a solid foundation for his subsequent work and
showcased his ability to attract top -tier talent
right away. And the momentum just kept going,
didn't it? Building impressively on that success,
Slow Down, his next album, came out in 1998.
Slow Down, right. And it earned him a second
Grammy Award for best contemporary blues album
in 1999. Back to back contemporary blues Grammys.
Exactly. Which really demonstrated that his initial
success was no fluke. He was consistently delivering
high quality, critically acclaimed work, cementing
his position at the forefront of contemporary
blues. This album also included Muddy Water,
which was this beautiful heartfelt tribute to
the legendary Muddy Waters. Ah, paying homage
again. Yeah, showing his continued conscious
effort to honor the blues giants who preceded
him. His tribute really captured Muddy's deep
resonance spirit, but filtered it through Keb
Mo's signature clean, more acoustic leaning style.
Nice touch. And what's more, Slow Down also featured
a re -release of Rainmaker. Rainmaker, from his
1980 album. The very same track. from his 1980
debut album, which he'd released under his given
name, Kevin Moore. Wow. Bring it full circle.
Exactly. It wasn't just about winning awards.
It felt like an artist consciously honoring his
roots while masterfully evolving his sound, creating
this full circle moment that powerfully connected
his past musical identity with his present Grammy
winning persona. It was like a nod to his journey,
a recognition of how far he'd come. That's really
cool. So following this period of like consistent
blues -focused success, Keb Moe started to explore
some new territories, really demonstrating his
incredible versatility and broad appeal. Okay,
where did he go next? His fourth album, The Door,
came out in 2000, still exploring contemporary
blues. But in the very same year, he surprised
a lot of people by releasing Big Wide Grin. Big
Wide Grin! Sounds different! It was. It was a
children's album. A children's album from Keb
Moe. Yep. The album included many songs from
Moore's own childhood, along with some newer
children's songs and some by Moore himself. And
a compelling aspect here is, what does it mean
for a blues artist, deeply rooted in a traditional
genre, to create a children's album and even
appear on Sesame Street? He was on Sesame Street.
He was. In 2001, performing Everybody Be Yourself
with Kermit the Frog and some other Muppets.
That's amazing. This move, it just speaks to
a remarkable broad appeal. A genuine desire to
connect with audiences of all ages, showcasing
not just his musical versatility, but also this
heartwarming, accessible side of his personality
that really transcends genre expectations. Yeah,
it broadens his image considerably. For sure.
Furthermore, Big Wide Grant included an original
arrangement of America the Beautiful, which he
later performed, appearing as himself, on the
series finale of The West Wing in 2006. It performed
on The West Wing finale, wow. Yeah. performing
America the Beautiful on a highly respected political
drama like that, it lent significant resonance
to his musical message. Showcasing his reach
into mainstream culture, even touching on political
commentary, proving his music could resonate
in really diverse contexts. Okay, so children's
albums, Sesame Street, The West Wing, but he
kept the blues Grammys coming too. Oh, yes. That
broad appeal and consistent quality continued
to lead to sustained success in his core genre
as well. In 2004, Keep It Simple earned him his
third Grammy for best contemporary blues album
in 2005. Third one, wow. That's three Grammys
in less than a decade, specifically for his blues
work, a powerful testament to his undeniable
impact and consistent artistry within the genre.
And this wasn't just critical acclaim, his music
was clearly resonating powerfully with audiences,
translating into commercial success too. For
instance, Suitcase, released in 2006. Suitcase,
okay. It hit number one on the US blues album
chart. And it stayed there for an astonishing
22 weeks. 22 weeks at number one on the blues
chart. That's dominance. It really is. That kind
of chart dominance within the blues genre underscores
this remarkable connection with his fan base.
A consistent quality that kept people coming
back for more. It really highlights how he manages
to be both critically acclaimed and incredibly
popular. Yeah, that's a rare combination. Especially
for an artist working primarily in the blues.
It demonstrates this masterful balance he strikes
between tradition and accessibility. So the Grammy
Trail didn't end there? Not at all. He continued
to impress with powerful collaborations and works
that actively expanded genre boundaries. In 2017,
he partnered with another living blues legend,
Taj Mahal. Oh, wow. Kip Mo and Taj Mahal? Taj
Mahal, exactly. The joint album Taj Mahal. This
collaborative effort was a monumental success.
It won the 2018 Grammy for Best Contemporary
Blues album. Another one. Yep. And the album
was Star -Stuttered Affair 2. Guest appearances
by Bonnie Raitt again, Joe Walsh, Sheila Yi,
Liz Wright. Goodness, quite the lineup. and it
included both original compositions and covers
from artists like John Mayer, even The Who. Covering
The Who on a blues album. Well, their version
of Squeezebox. It shows, you know, these collaborations
aren't just guest spots, they're significant
artistic dialogues, expanding the very boundaries
of blues and Americana, bringing new textures,
new arrangements, new audiences to the genre,
demonstrating how two masters can push each other
creatively. Yeah, that sounds incredible. Then
in 2019, he released Oklahoma. And this won the
Grammy Award for Best Americana Album in 2020.
Americana, not contemporary blues this time.
Exactly. A notable shift. Moving from contemporary
blues into the broader Americana category, it
really showcases increasing genre fluidity, his
comfort in bridging various American roots music
styles from country folk to gospel tinged ballads.
So Oklahoma was more Americana focused. It explored
themes like personal resilience, environmental
issues, the power of home. And it also featured
contributions from Roseanne Cash, Josie Velasquez,
Robert Randolph, and a particularly poignant
duet with his wife, Robbie Brooks Moore. Ah,
nice. These later Grammys, especially the Americana
one, they really cement his status not just as
a blues artist, but as this widely respected
figure across the entire spectrum of American
roots music. Yeah, it paints a much broader picture.
And beyond the studio, Keb Mo's presence, it
extends across various media and platforms, reaching
an even wider audience. Collaborations, screen
appearances, and activism. You know, the sheer
volume and the diversity of Keb Mo's collaborations
beyond his own albums, it's truly staggering
when you lay it all out. It really is. It powerfully
illustrates an artist who's just... deeply respected
across genres, eager to explore, eager to contribute,
constantly seeking these new musical conversations.
Mm -hmm. He doesn't seem walled off in one genre.
Not at all. For instance, back in 1998, he appeared
on German rock musician Peter Maffei's Begayden
in an album, performing a new version of his
own song, Am I Wrong? Peter Maffei, okay, international
reach there. Yes, showcasing his international
appeal and versatility. Then in 2001, he not
only performed this soulful rendition of I'm
So Lonesome I Could Cry on the timeless Hank
Williams tribute album. Classic song. But he
was also credited as a producer on that album,
which won the Grammy for best country album.
Producer credit on a Grammy -winning country
album? That's significant. Huge nod to his production
prowess. Then he duetted with Amy Grant on Come
Be With Me in 2004. Amy Grant, okay, different
audience again. Yeah, it became a modest pop
radio success, introducing his voice to a broader
Christian and adult contemporary audience. His
work with fellow blues legends is equally impressive.
He appeared on Buddy Guy's blistering version
of Ain't No Sunshine in 2005. Buddy Guy, wow.
And on Eric Clapton's back home album the same
year, solidifying his peer status among blues
royalty. Clapton, Guy. Yeah, he's in that company.
But his reach extends even further. He co -wrote
the poignant hit song, I Hope, with the Dixie
Chicks. Now, the chicks in 2006. He co -wrote
I Hope. I remember that song. Yeah. Blending
his roots sensibilities with mainstream country.
That same year, he produced and collaborated
with the New Orleans group, The Subdudes, on
their album, Behind the Levee. The sub -dudes,
right? Great band. He lent his distinct vocals
to jazz bassist Marcus Miller on his albums Free
in 2007 and Marcus in 2008. Marcus Miller, so
straight up jazz context, too. Yeah, showcasing
his ability to navigate complex jazz arrangements.
And he contributed vocals and banjo to Otis Taylor's
recapturing the banjo in 2008, delving into the
instrument's African roots. And banjo, too. OK,
Renaissance man. You might have even caught him
performing with Bonnie Raitt on Garrison Kyler's
A Prairie Home Companion back in 2008. Ah, Prairie
Home Companion, live radio. Yeah, they perform
No Getting Over You and There Ain't Nothing in
Ra - Proving his comfort in those live, unscripted
settings, he co -wrote the theme song, I See
Love, for the CBS sitcom, Mike and Molly, with
Josh Kelly. The Mike and Molly theme? That was
him? Co -wrote it, yeah. Provided electric guitar
and co -wrote digging in the deep blue sea for
David Bromberg's 2011 album, Use Me, duetted
most of all with the late, great BJ Thomas in
2013. BJ Thomas, wow. And more recently, in 2017,
he covered Lord, I hope this day is good for
a Don Williams tribute album. This list is just
extensive. It's incredible. It really highlights
how these collaborations aren't just items on
a resume. They introduce his distinctive sound
to incredibly diverse new audiences and vice
versa. It allows him to absorb new influences,
constantly enriching and expanding the musical
landscape for everyone involved. And his authentic
musicality, that sort of charismatic presence,
it translated quite naturally to acting in television,
too, making him a familiar face beyond just concert
halls. Right. The acting part is interesting.
In 1998, he took on the really significant role
of portraying none other than Robert Johnson
himself. Playing Robert Johnson. Wow. Yeah, in
the documentary film Can't You Hear the Wind
Howl, this was more than just an acting gig.
It solidified his connection to blues history
in this powerful visual medium, bringing his
music and his reverence for the genre's foundational
figures to broader mainstream audiences who might
not have known his music otherwise. Yeah, that's
a heavy role to take on. Definitely. He also
had a recurring role as Isaac, the angel of music
in three episodes of the popular TV series Touched
by an Angel. Touched by an Angel. I remember
that show. Yeah, 1997. in 1999 and 2002, and
he played a different character, JD Winslow,
in another episode in 2001. He often performed
his own songs within those appearances. His music
got featured, too. Mm -hmm. The 2003 movie, Holes,
further introduced his music to a younger audience.
They used a re -recorded version of Just Like
You with slightly altered lyrics to fit the film's
story. Ah, for the Holes soundtrack. He also
played this mischievous spirit character named
Possum in John Sayles' critically acclaimed 2007
movie, Honeydripper. Honeydripper, right. That
film steeped in blues lore. Exactly. His natural
presence fit perfectly. Further displaying his
versatility, Kamau provided additional music
for Mike and Molly and co -wrote the opening
music for another sitcom, Be Positive. Busy guy
on TV soundtracks. Seems like it. He's also been
a guest artist on the PBS concert series, Blue
Grass Underground, and has even acted and performed
in the Hallmark mystery movie series, Signed,
Sealed, Delivered. Hallmark movies, too. OK.
The real revelation here is just how these diverse
roles allowed his music and authentic persona
to reach mainstream audiences way beyond traditional
music channels, creating this broader appreciation
for his artistry that might surprise you. You
know, you might very well have seen him on screen
without even realizing it was the same Grammy
-winning blues artist. That's probably true for
a lot of people. And his presence on iconic stages
further cemented his status, didn't it, as a
living legend, both nationally and internationally.
Oh, absolutely. He performed at the prestigious
Crossroads Guitar Festivals, both in 2010 and
2013. That's Eric Clapton's big festival, bringing
together the world's greatest guitarists. Crossroads,
yeah. Being invited there is a huge honor. And
at those festivals he played everything from
intimate acoustic sets with fingerstyle legend
Stefan Grossman. Stefan Grossman, wow. To electrifying
sets alongside guitar titans like Vince Gill,
Albert Lee, James Burton, Sheryl Crow, Booker
T. Jones, Steve Cropper, Taj Mahal. Even joining
the grand finale jams with most of the performers.
Just an incredible lineup of peers. But his influence
reached even higher echelons. He performed at
White House events, including in performance
at the White House, red, white, and blues in
2012. Performing at the White House, okay. And
a celebration of American creativity in 2015,
both hosted by President Barack Obama. Wow. These
invites, they aren't merely performances, are
they? They underscore his status as a national
musical treasure, a representative of American
culture and heritage on the highest stage. A
cultural ambassador, in a way. Exactly. He also
participated in significant tributes, honoring
the iconic blues guitarist Hubert Sumlin in 2012,
the Everly Brothers in 2014, and the gospel legend
Mavis Staples in 2014, performing alongside these
all -star lineups. Paying respects to the greats.
And more recently, he headlined the legendary
Glastonbury Festival in the UK in 2019. Glastonbury?
That's massive. One of the world's largest music
festivals. And the Mahindra Blues Festival in
India. in 2020, showcasing his truly global reach.
These high -profile performances, they don't
just highlight his incredible talent. They firmly
place him among the pantheon of guitar legends
and cultural icons. And beyond the notes and
performances, Kevin Mo has consistently demonstrated
this profound commitment to using his platform
for causes he believes in, embodying a deep sense
of political activism and philanthropy. Right.
He seems socially conscious. Very much so. In
2004, he actively participated in the politically
motivated Vote for Change tour, performing alongside
Bonnie Raitt and Jackson Brown. with whom he'd
originally recorded the title track from Just
Like You. Feel for Change, yeah, I remember that
tour. It was a significant artistic response
to the political climate of the time, and his
involvement clearly aligned his music with a
broader social message. He's also a committed
part of the No Nukes group. No Nukes, like the
concerts from the 70s. Kind of a continuation
of that spirit, advocating against the expansion
of nuclear power. In 2007, he contributed to
a music video for a new version of the Buffalo
Springfield protest classic, for what it's worth,
as part of their efforts. Ah, channeling that
classic protest music vibe. Exactly. Furthermore,
he's been a steadfast supporter of the Playing
for Change charity since its inception. Playing
for Change, yeah, the global music videos. He
appeared in one of their videos with Keith Richards,
actually, and he generously donated 5 % of the
proceeds from his Blue Ease Americana album to
the organization. Playing for Change aims to
inspire, connect, bring peace to the world through
music. A mission that resonates deeply with the
healing, unifying power often found in blues
and folk. His engagement with political activism,
with charity work, it isn't just about performance.
It's about embodying the social consciousness
that has always been a vital thread in blues
and folk music. It demonstrates an artist whose
personal values imbue his music and public presence
with deeper meaning, deeper resonance. It shows
how an artist's commitment to social causes can
truly amplify their musical message and impact
their legacy beyond the stage. It reveals this
holistic artist deeply connected to his community
in the world, the tools of the trade, Keb Moe's
guitars and sound. OK, so let's pivot now to
something maybe more tangible, but still deeply
personal aspect of his craft, the instruments
themselves, because they're so crucial to an
artist's signature sound, right? Absolutely.
The tools matter. Keb Moe used a fascinating
variety of electric, acoustic, and resonator
guitars, each contributing to his rich sonic
palette. But one thing you might notice. if you've
ever seen him perform or watched his videos,
is his distinct preference for red guitars. Ah,
yes, the red guitars. Yeah, he even states on
his website, quote, I have a history with red
guitars. My first electric was a red guitar.
Huh, a simple connection, but meaningful. It
is. It's a simple detail, but it speaks volumes
about the intensely personal connection artists
often have with your instruments, almost like
they're extensions of their own voice. You know,
this isn't just about aesthetics. That particular
color. Over time, it can become an iconic part
of their stage presence, almost a visual extension
of their musical identity, instantly recognizable,
and it ties into his approachable persona, too,
I think. Yeah, it's part of the Keb Mo brand
visually. Exactly. Perhaps you've noticed this
signature splash of color in his performances,
and now you know the story behind that striking
visual choice. And delving into the specifics
of his electric guitars, it really highlights
how his choices directly shape his unique sound.
He primarily plays a red custom -fender Stratocaster.
A Strat, okay. Classic choice. But it's not just
an off -the -shelf model. It's significantly
modified. It features two single -coil pickups
and one humbucker in the bridge position. the
HSS configuration for versatility. Exactly. On
stage, he often opts for a Red Hammer guitar
equipped with Gibson P100 pickups. Okay, and
P100s, those are like stacked P90s. Precisely.
And a key takeaway is what these specific modifications
and choices tell us about his playing style and
his desired tone. The mix of single coil and
humbucker pickups on his strat, for instance,
it's not just theoretical versatility, it's a
practical setup. It allows him to instantly shift
from that crisp, articulate bite, maybe ideal
for traditional blues, leads to a warmer, fatter
tone for those more contemporary, almost rock
-inflected textures, often mid -song. Best of
both worlds. Single coils give you clarity and
shine. Humbuckers give you power and sustain.
Less hum. making this configuration perfect for
an artist who blends traditional nuances with
modern punch. And his preference for specific
Gibson P100 pickups on his hammer, it further
indicates a pursuit of a particular P90 -like
tonal character that's slightly grittier, fatter,
single -coil sound that retains clarity but offers
more mid -range presence than, say, a typical
Strat single -coil. These are the tools that
let him achieve that distinctive genre -fluid
sonic fingerprint. his guitars are way more than
just tools for him. They're extensions of his
musical self, each with its own story, its own
history, which makes the next fact incredibly
poignant. Oh, what's that? Two of his beloved
electric guitars were tragically lost in the
devastating Tino 10 Nashville flood. Oh no, the
flood in Nashville, right? That was terrible.
Yeah. He lost an Epiphone Sheraton and a Dana
Electro Select -O -Matic. Ouch. A Sheraton and
a Dana, both cool guitars. This wasn't just a
material loss of instruments. You know, it was
a profound loss of personal history. of trusted
companions that had been with him through countless
performances, songwriting sessions, career milestones.
Absolutely. You get attached to those instruments.
Imagine the unique sound, the familiar feel,
the years of stories embedded in those particular
instruments, now just gone. I can only imagine
the emotional impact of that loss. It extends
far beyond just the material aspect of replacing
gear. For sure. It's a gut -wrenching experience
for any musician. A poignant reminder of the
vulnerability even for celebrated artists to
natural disasters and the deep, often untold
stories and sentimental value embedded in their
equipment. Definitely puts things in perspective.
Indeed. And while the electric guitars contribute
significantly to his versatility, the other side
of his sound absolutely crucial for as deep blues
roots comes from his array of acoustic and resonator
guitars. Right, the resonators are key for that
Delta sound. Absolutely key. He owns a variety
of these, each serving a distinct purpose in
his sonic palette. This includes a Gibson Artist
Model Acoustic, a custom guitar made for him
by James Goodall, known for exquisite craftsmanship.
Goodall makes beautiful guitars and national
style and resonator and a national Reza rocket
nationals the classic resonator brand but there's
also a particularly unique instrument that stands
out a gibson es 335 shaped resonator a 335 resonator
that sounds unusual it is with a p90 pickup he
apparently purchased it in a nashville club and
later had it meticulously repaired wow that's
a unique piece and this contextualizes his delta
blues roots perfectly The resonator guitars are
absolutely crucial for that distinctive metallic,
often raw and piercing sound that is so strongly
associated with early blues, particularly when
played with a slide. That unmistakable sound.
The conical or biscuit style resonator cones
inside these guitars, they project sound with
this unique intensity, sustain and bite that's
just incomparable to a standard acoustic. His
use of these demonstrates his profound commitment
to that rich tradition even as he innovates with
electric sounds and genre fusions. Right. He
keeps that traditional element alive. The fact
that he owns such specific models and even had
a unique resonator like that ES -335 shaped one
repaired, it further underscores his dedication
to crafting his distinctive voice through these
specialized tools. It shows a musician who understands
that the instrument is an extension of the soul
and that every detail contributes to the story
his music tells. So we've really explored his
entire journey, haven't we? From his formative
roots and diverse experiences to his Grammy -winning
albums, his collaborations, the very instruments
that bring his distinctive sound to life. It
paints a comprehensive and I think pretty nuanced
picture of his artistry. So what does this all
really mean? We've journeyed from Kevin Roosevelt
Moore's early musical immersion in things like
Calypso and R &B, through his deep dive into
the heart of Delta Blues, to his, well, his reign
as a multi -Grammy winning artist who just effortlessly
blends genres and connects with audiences across
the globe. We've seen him as a songwriter, a
producer, an actor, even an activist. It's quite
a career. What's truly fascinating about Keb
Mo, I think, is his remarkable ability to maintain
that living link to foundational blues. You know,
that raw, authentic storytelling tradition, while
simultaneously embracing modern sounds, powerful
collaborations, and even acting roles that bring
his authentic persona to wider audiences. He
genuinely embodies an evolving definition of
what a blues musician can be in the 21st century,
an artist deeply rooted, yet constantly expanding
his artistic, social, and cultural reach. He
reminds us that tradition isn't static. It's
a vibrant, living thing that thrives through
innovation. Well said. We hope this deep dive
has given you, our listener, a newfound appreciation
for the rich, intricate tapestry of Keb Moe's
career. Full of surprising facts and those aha
moments about his influences, his craft, and
his truly incredible body of work. It's really
a testament to how an artist's journey is often
far more complex and maybe more rewarding than
meets the eye. And this raises, I think, an important
question for you to ponder. In an era of increasingly
blurred musical lines, you know, rapidly changing
tastes, how do artists like Keb Moe not just
preserve a tradition but actively redefine it
for future generations? How do they ensure its
continued relevance, its vibrancy, without sacrificing
its soul? What does it actually take to be both
a guardian and a pioneer? That's a great thought
to leave people with. Thank you for joining us
on this deep dive. Until next time, keep exploring.