On About Time, Dennis Jones gets real with blues-rock that comprises one part drama, one part top-tier production, and guitar tones that melt faces. With BusBoys keyboardist Brian O’Neal behind the glass, Jones has created a crop of compelling songs tailor-made for blues festivals all over the world.
Songs like “Always The Same” are blues-based but really hit home.
“Always The Same” is an old song I’d redone. It’s probably 30 years old. I re-wrote it, and I think if I can relate to it, other people can relate to it. “Too High To Fly” and stuff like that are about waiting for things to happen. That never works. You have to get off your butt and do it. “Just Like You” is about traveling the world and seeing how much we all have in common – respecting other cultures and not being the ugly American.
It’s life experience. All my songs come from observing people, my life, and where I am. It’s what I see in the world and what I see in myself. When I go around the world to play, I see the happiness I bring. That’s the reward. Everything is about time and timing, so the album title was appropriate.
“Six Feet Off The Ground” is a great song that another blues artist might leave off because it’s so heavy.
That’s the great thing about owning a record label (laughs). I record a lot of songs, and I pick the best ones. It’s a great song, and I thought it would be an excellent closer. It’s also very positive. I’ve been an eclectic from my very first record, and I’ve never stayed in blues mode. Blues is one of the most-original forms of American music; everything I do comes from that root. But I want to do me. I sleep good at night because of that. My fans keep coming out, so I must be doing something right.
About Time sounds like the synergy between road chops and excellent production.
I brought in Brian O’Neal to help me produce. I used to play with The BusBoys back in the day. He produced my first record and the vocals and basic tracks on this record. Then I went into another studio and produced everything else myself – guitar, keyboards, sax, and backing vocals. Paulie Cerra came in and played sax.
How did Brian’s input affect the album?
Brian is an amazing producer and a great guy. He took my vocals to another place. A lot of the stuff he made me sing, I didn’t like. I was like, “No! That’s not me!” I listened to it two weeks later and was like, “Oh, wow!” (laughs) To trust your producer is really what it’s all about. Get out of your zone and push yourself. I needed that kick in the ass.
Which pedals did you run?
I plugged straight into the amp except for an Xotic XW-1 wah. I have a couple of high-end wahs, but for some reason, that one cut through really well.
There’s a chorus effect on “You’re Killing Me.”
That’s an old Leslie. We plugged it into the board. Brian was turning the knobs and sped it up for certain parts. I’d never played through a Leslie, and it was really cool.
I also used a DSL Effects Ultra Chorus II. All my pedals are dual pedals; I love stuff that has more than one function. I call them crayons. They’re colors. I play in a power trio and I like different shades.
I didn’t use any dirt pedals. Usually, I sneak in a Tube Screamer, but this time I took my Bogner Shiva out of storage, brought in a Deluxe Reverb, and used a ’60s Marshall that was in the studio. When I did the solos, I went through my Shiva and my Vibro-King. All the heavy guitar was the Bogner. It’s a monster. I also used an old Vox that had a completely unique sound. It was great to plug straight into an amp without pedals, and I think it captured the sound.
Talk about your guitars.
I build my own. I used my #1 that I built in 2014 and the goldtop Les Paul I’ve had for 20 years. I’ve really dug into the Les Paul. I remember the early Aerosmith albums when Joe Perry used Strats, Teles, and Les Pauls in different combinations to get certain sounds. I’m an old-school guy. I’m not interested in new guitars. I’ve tried them, and they don’t make you play better. I build mine at home, the way I like, buy the necks, and put in the electronics. I’m a geek when it comes to that.
What’s next for you?
We’re going to hit the road, have some fun, and continue making good music.
This article originally appeared in VG’s September 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
