Joe Bonamassa's Secret Advice from Leslie West — And Why It's Finally Working Out

Joe Bonamassa mentions that the guidance Leslie West shared with him three decades ago has only now fully taken effect—and it has resulted in him experiencing... guitar solo epiphany.

Speaking to Premier Guitar prior to the launch of his new solo record, Breakthrough , the besuited electric guitar Titan mentions that he encountered West when he was just an early-career, novice athlete. His performance impressed the Mountain Man, yet West offered some valuable advice.

Three decades ago, he advised me to split things in half," Bonamassa says. "He visited the studio in Ithaca, New York, when I was young, collaborating with [producer] Tom Dowd on what would become my first solo record.

This occurred during the pre-production phase, and he appeared on a song. In his distinctive voice, he said: 'You know, Joe, you'd be my top guitarist if you simply divided your playing by two.' I responded, 'Do you mean play half as many notes?' He replied, 'Exactly. Continue what you're doing but cut it in half.'

West, whose impact was felt by many including Martin Barre to Grace Bowers and Jared James Nichols , has always been someone who didn't rush things. Now, Bonamassa is taking steps to make it happen.

He reflects, 'I've observed a shift in my performance. Particularly during tours where we play large venues here, I've started utilizing 'divide by two.' This approach has proven effective. Occasionally, you surpass a boundary you weren't aware you'd cross or even knew was there.'

Another more recent discovery occurred following Bonamassa's purchase a “museum-grade” 1941 Martin acoustical - which has subsequently been adapted into a five-figure reissue model - and it has expanded his extensive assortment of - and it has broadened his large array of - and it has enhanced his wide range of - and it has enriched his considerable set of - and it has added to his massive accumulation of - and it has increased his impressive selection of - and it has augmented his comprehensive gathering of - and it has boosted his substantial number of - and it has extended his plentiful supply of - and it has deepened his rich compilation of electric guitars to the curb.

It was so pristine that I didn't feel comfortable playing it. It was completely well-maintained," he says. "Shortly after that, I purchased a 1942 000-18 from my friend Jim Hauer in Dayton, Ohio, at Hauer Music. Once the neck was adjusted and it returned, I thought, 'You know what? I'm going for an acoustic.' I was so fixated on electrics that all acoustics seemed alike to me.

I've noticed that my precision with the electric guitar has increased by focusing on the acoustic. I particularly see this in the studio when I'm working on a track and performing on it; the adjustments I make result in much stronger chord accuracy.

When I connect a Les Paul to a Marshall or Fender Strat Into a black-panel Princeton, the sounds you anticipate will emerge, and then it's your turn to craft something," he concludes. "[With] the acoustic, everything is possible. I've found that I'm generating more creative concepts simply by avoiding the electric guitar when I'm at home.

In the meantime, Bonamassa has clarified why Fender Stratocasters are "multi-tool instruments," and offered players heartfelt guitar-buying advice to permanently ease buyer's regret.

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