Linda Bracamonte & Ema Roberts Interview

What is your previous musical background prior to the
Linda Bracamonte Band?

thelma lena I have been fortunate to have met and performed with a lot of great musicians over the years — some famous, some not so famous, and many like me in-between. I also had the privilege of meeting several distinguished technicians, engineers and record producers along the way. Most of these meetings, performances, and recordings took place in Southern California in the Orange County, Los Angeles area. I also had a couple of wonderful opportunities I turned down — that sometimes looking back, I wish perhaps I hadn't. But for me now as a guitarist, a musician, a songwriter, arranger/producer, whatever I want to put on my resume; there is only one person who really made a lasting difference in my life. That would be my mother. She was a very musical Hawaiian, a great dancer, strummed a killer ukulele, and played an amazing Mary Ford style guitar. All of the talents I have ever possessed for music have come directly from my mother's heart... and it is still so to this day.
(Credits: My mother, Thelma Lena, age 16, Honolulu, Oahu, HI, photo by unknown.)

What inspires your songwriting?

Anything. Everything. But mostly pain and suffering! Actually there are two very important women in my life right now that are my biggest inspirations:

First, my wife, Nancy. Since we met in 1998, she has encouraged me to keep performing and to start writing music again. In fact, she reintroduced me to the whole creative process by teaching me photography. She helped me to see how there is beauty in everything... you just have to pay attention and look for it. Then when you find it, capture it and preserve it as a memory. So through her — I realized that all music and art really is about — is capturing life's emotions, beauty, and memories... and the reward is no less at any level of success — because, what you feel will always be more representative of who you are than any material objects you possess.

The "other" woman is Linda. When I first heard Linda sing, she just knocked me out with the extraordinary way she can vocally bend a note; and her power and range is just mesmerizing coming out of that little frame of hers (she sings the way I wish I could play the guitar)! I think it took Linda a little while to realize just how serious I was about writing for her (like two and a half frikkin' years, woman!); but trust and true friendship takes time and it was worth the wait. I just love collaborating with Linda. She works extremely hard and is very open minded and passionate about the whole adventure of composing originals. Staying disciplined and finding enough time to work together is the hardest challenge because we are both busy people. But it has already been a very rewarding experience for each of us. And even more importantly, we've become very close friends and for me that is the ultimate compliment and reward for our efforts.

(Credits: Top photo — My wife, Nancy Stegemann with Motown legend, Smokey Robinson, Lake Tahoe, CA.
Bottom photo — Linda Bracamonte, the first night I ever laid eyes and ears on her face and voice.
Both photos by ema roberts.)

What are the story lines behind your new songs?

Life seems to have a good story to tell everyday... Linda has a very animated attitude and a tremendous sense of humor, and Nancy is always wandering off in the desert like Jesus exploring the unknown. These two women alone give me plenty of girl material to write about with their hilarious and often profound one-liners. I always try to keep in mind what Linda might want to sing about, you know, chick stuff, which is easy because of the woman in me! Even though a personal emotion about someone or something might inspire the song I'm writing, the song itself is seldom about anyone I know personally. It's just a story that hopefully touches someone.

(Credits: Linda has a sudden song idea during my solo.
Photo by Nancy Stegemann.)

How do you move your fingers so fast on the leads?

It's pretty much anything goes when I play, because I don't know any scales and I can't read music. So basically everything I do is based on bending a note until it's right! I've always had a pretty good ear, well at least my right ear is still pretty good! I have basically memorized all of the "Johnny B. Goode" positions in every key! So say it's a blues song in the key of "A"... I say to myself, "Okay, I can play Johnny at this dot and this dot!" Then, I'll bend notes all around that position on the neck until they sound right. If I sound fast, it's all nerves — because I can't double-pick to save my life — so it's all fluff and flutter, pull-offs, hammers, a lot of banging, and a lot of anger. Then if all else fails: WHAMMY BAR!!

(Credits: This is me performing on my G&L guitar sold to me by Leo Fender himself in the early 80’s shortly after he opened up his new shop with George Fullerton on Fender Avenue in Fullerton, CA. He was a kind, gentle, man with a funny, dry sense of humor. Photo by Beverly Harbor.)

Describe one of your typical practice sessions.

I lean on Lance and John a lot. They are such a solid and melodic rhythm section. It doesn't matter how lost I get in a solo, they're always there to reel me back in. And Matt fills in all the textures and colors.

But thank goodness I practiced a lot when I was younger... because nowadays I am about as lazy and as undisciplined as a moose on secanol. Linda is very motivating — she pushes me to do more by simply being more herself. She can be pretty fearless at times and sets goals for herself that are pretty high — and, in order to keep up with her I have to pretend like I know what I'm doing! But life is busy and there isn't much time to practice when I need that precious "time" to write music and do photography. So a typical practice session for me is five minutes before the band shows up for rehearsal!!!

What are your favorite clubs to perform at?

I'm not a fan of dance clubs with bands. If I want to dance, I'll go to a disco. If I want to see a band, I'll go to a concert-like club because I want to experience the musicians. If I'm on stage, I like it when the audience is up close, even though I'm claustrophobic. I want to be able to touch them, feel their hearts beating... it's a vibe thing I guess, a romance, a personal exchange of secrets. When I'm performing, I'm a freudian accident just waiting to happen ... I'm just a nervous wreck! I love it.

What was your funniest experience at a gig?

This was a very painful experience, but it actually turned into a fun annual event that several people took part in with me each year following.

It was Halloween on a Thursday night. Nobody dresses up for Halloween on a Thursday night, at least not me, damn it! Well, this dinner club in Southern, CA, very nicely asked the band to dress up on that Thursday night and we all reluctantly agreed to do so. (club musicians. we're such whores for money.) So of course, I waited until the last minute to think of a costume!!

Johnny Ema - swell...

During that time many years ago, I was roommates with a gay male couple, a bi-female, and a hetero waitress, with me there in the middle somewhere. Don't get me wrong, I loved these people — they were all dear friends of mine... but they were the last people I should have asked for a costume idea! Quickly to their delight they turned me into a transvestite and affectionately named me, "Johnny Ema" (complete with tightly cut black vinyl shorts, knee high leather boots, a torn t-shirt with the nipples exposed, a brown wig, lots of makeup, lipstick, and fake eyelashes). Actually, in the right light I was pretty damn cute.

Running late, I booked it onto the freeway and was promptly pulled over by the Highway Patrol. The officer had me exit the car, shined a spot light on me, then had me walk the line, touch my nose, riverdance... all sorts of pretty embarrassing stuff as whistles and shouts came from the cars rushing by. He finally let me go without a ticket. I guess I made his day...

I was about 20 minutes late for the gig and the band was already on the stage waiting for me. I barged through the front door with my guitars dangling at my side and was so flustered and upset that I didn't even notice that the place was jam-packed with a dinner crowd of approximately 150 people. I stopped in the middle of the dance floor and looked up at the band. NO ONE WAS IN COSTUME, nor were the waitresses, bartenders, or anyone in the audience who were all staring. Just me, the transvestite. Swell.
(Credits: Johnny Ema’s first appearance. Photo by Beverly Harbor.)

What are your favorite cover tunes and artists?

Johnny Winter

I'm definitely a student and loyal fan of the 60's blues guitarists and I'm sure their influences are evident in my guitar playing: Jimi Hendrix, Jeff Beck, Jimmy Page, Jesse Llamas, Keith Richards, Eric Clapton, etc. I know it would be hipper to mention, BB, Freddie, and Albert King; Howlin' Wolf, Robert Johnson, Muddy Waters as my influences... and I really love all those incredible blues artists who started it all... but I also really love how the British interpreted the blues!! And it's unfortunate all of that incredible 60's blues playing was unceremoniously swept into the "classic rock" catalog. BB and Buddy Guy are always saying wonderful things about Jimi, Jeff and Eric and how they saved the American blues scene by reintroducing it to a new generation. The song, "Nazz Are Blue" by the Yardbirds, did it for me. Up until I heard that song it was all Beatles, Beach Boys and Frank Sinatra!

My favorite 60's blues cover tunes from the British are: I'm Not Talking — the Yardbirds; Aint Superstitious — Jeff Beck/Rod Stewart; Politician — Cream; Black Magic Woman — Peter Green's Fleetwood Mac (long before Santana ever recorded his very similar version of it); Young Man Blues — The Who; You Shook Me — Led Zeppelin; and on and on...

Jimi Hendrix Ticket Stub

My favorite 60's blues cover tunes from our Americans are: Voodoo Child (the slow version) — Jimi Hendrix (although Jimi was actually part of the British invasion); Memory Pain — Johnny Winter; The Thrill is Gone — BB King; Born Under a Bad Sign — Albert King; Killing Floor — Michael Bloomfield; and now anything by Robben Ford; and on and on...

My favorite 60's blues slide tunes are: I Love Everybody and Highway 61 — Johnny Winter; Statesborough Blues — Duane Allman; and anything by Bonnie Raitt or Ry Cooder.

(Credits: The top photo is of Johnny Winter performing in Citrus Heights, CA. Second Winter was the first album I ever owned that my mother bought me for christmas. The bottom photo is my ticket stub for the first concert I ever went to, the Jimi Hendrix Experience with the Vanilla Fudge in 1968 at the Swing Auditorium in San Bernardino, CA. I was fortunate to see Jimi twice at the Swing. I also saw at the Swing: Led Zeppelin and Jethro Tull together on their first USA tour, Elvis Presley - the last gig before his Aloha from Hawaii TV Special, Michael Bloomfield, ZZ Top before they had a hit song, Jeff Beck, Edgar Winter, and many more. Both photos by ema roberts.)

Do you make any changes to the original equipment on your guitars?

I have not been very nice to my guitars over the years. Not only do I beat them severely when I play, I have no problem yanking the electronics, bridges, or necks off of them trying to get the sound and feel I want. I remember I had $4,000 in just guitar repairs in one year from shoving them into walls, slamming them on the stage, sliding them across the dance floor, throwing them up into the rafters (many thanks to my master guitar tech, Denny Michaels for piecing them all back together)!! I think a lot of guitarists go through this — trying to find their "sound", the perfect amp, the perfect guitar. I've never found any of it yet... probably never will.

Are you a boxers or briefs guy?

This is a very difficult question to answer... because I don't want anyone to get hurt... : }