The Guitar Hero series on Jemsite features interviews with guitarists and musicians who may not have star status YET, but their current situations have shaped them to be who they are--determined, fond of their craft, and heroes in their own right. Perhaps you'll see in these upcoming entries the next Jimi Hendrix, Melissa Etheridge, or Duane Allman. Or perhaps they'll become household names by doing what they do best--ripping a mean riff!
There's a reason why Philadelphia Weekly calls Steve Wynn "One of rock's true heroes of the underground." Playing guitar, writing song, and performing for 25 years, Steve Wynn has a style of music that has been compared to Neil Yong and John Lennon. He has a contemporary flare with a classic rock sensibility. He was said to be part of the pioneers who brought indie rock to the trendy music scene of the 1980s.
Steve began taking lessons in guitar when he was young and says guitar is the main thing that brings his songs to life.
He's not just another boring guitar player. And that's why he's our Guitar Hero of the week!
Why the big dream to become a musician?
I was a music fan, a music obsessive from around the time I began to speak. That alone doesn't necessarily mean that you're going to become a musician but I always found that the excitement I got from hearing a great record made me want to find a way to approximate that thrill myself. It's still that way today.
What is your background with the guitar?
I began taking lessons when I was nine years old. I started with a nylon string guitar but was fortunate in that my sister was married to a guy who worked for Columbia Records which meant I could buy a Telecaster at cost. I played that Tele in my first bands (when I was 13 or so) and continued to play it until it was stolen in my late teens. That still makes me sad today.
Who are your musical influences?
Too many to put on one page. You can get a good partial list at my MySpace page (www.myspace.com/stevewynnthemiracle3) although I'm sure I could triple that list without too much trouble. You almost left music for sportwriting. What was it that brought you back to this scene?
That's easy. It was punk rock in 1977 that reminded me of the primal passion of playing and listening to music. It was a reminder that you don't need to be able to play like a prog superstar to start a band. Passion, attitude and vision became more important than chops. As it should be. So you're a songwriter who's had songs recorded or performed by REM and The Black Crowes among others. In your opinion is it easier to be a musician or a songwriter?
Ha ha. Do you mean easier to actually do those things? Or easier to make a career at doing those things? Whatever, they're both fun, challenging and they both feed off each other. For me they are inseparable
Your work with The Dream Syndicate is said to have “invented the American indie rock scene of the 1980s.” Tell me about that experience
We came along when there were almost no rules. Bands like us didn't get signed to major labels, bands like us didn't go out on tours with superstar acts. But that is exactly what happened. It was exciting, dizzying and, in some ways, damaging. But I'm very proud of what we did.
How important is the guitar to your songs?
These days I write just as many songs humming to myself while I walk down the street. The guitar is just one of the ways I write but it is the main way that I bring my songs to life.
You're said to have “never been one to settle into an easy or predictable groove.” How does the guitar help you to change your sound? In what way?
Well, new pedals are always nice. New toys (guitar pedals, guitars, drum machines, recording gear) are always a good way to shake things up and kickstart your motivation to write something new.
What are your plans for the future in music?
I hope that my best records, my best songs, my best shows and my best tours are still ahead of me. The search for those things is what keeps things interesting.
What words of wisdom can you give to a struggling guitarist?
Expand your horizons. I spent most of my time practicing along with non-guitar music like Ornette Coleman and Albert Ayler. It freed me up to avoid boring clichés. But there's a lot to be said for learning and understanding those clichés as well.
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