Known for decades as The Texas Tornado and The Malice from Dallas, Rocky Athas is still kickin’ blues-rock ass on Livin’ My Best Life, his first album since 2017. A veteran of John Mayall’s Bluesbreakers, Athas is a Les Paul bruiser who delivers fierce riffs and potent tributes to Peter Green and Jeff Beck throughout the platter.

There’s a lot of blues emotion on Livin’ My Best Life, but also hard-rock riffs. Is there a tipping point between the two?
It’s all about the feel. If a song leans to the blues, I feel it that way; if it rocks, I flow in that direction. But even if it rocks hard, I never forget my blues influence in my lead work and want the melody to sing, like on “Dark Days.”

Your guitar tone smacks the listener in the face, especially on the title cut.
Thanks. That means my mission is accomplished. I’m miking my Lab Series L5, which has been my personal favorite forever. I recorded the tracks using a mic about a quarter-inch away from the front and center of the speaker. Then, I use another mic on the back of the amp, recording tracks dry – no reverb, delay, or anything – to capture the punch of the speaker and amp. I’ll add reverb, delay and, whatever else during final mix. You know what they say: “Garbage in, garbage out.” I like it clean to make my statement.

Sounds like plenty of Les Paul tones throughout this record.
Choosing the Paul is a no-brainer for exactly that reason; it delivers the goods almost effortlessly every time. I love all my guitars, whether the Strats or Teles, ES-330s or ES-335s, but I always come back to my Pauls because for some reason they feel like home. You know what I mean? For most of the album, you’re listening to my ’52 and I chose it because it’s such a punchy guitar and has an aggressive tone that fits the songs very well.

What other gear did you use on Livin’ My Best Life?
You also hear my 1959 Historic Les Paul, a ’72 Telecaster for the lead work on “Sad Affairs” and “Grey Mare.” The Tele was also my weapon of choice for rhythm work. The L5 and Twin amps are a must-have in the studio, with my vintage Ibanez Tube Screamer TS-10 and 1969 Vox wah. I’ve tried loads of new gear and will continue to trying it, but vintage amps and pedals still just sound better to me.

Why did Phil Lynott of Thin Lizzy write the 1976 song “Rocky” in your honor?
Honestly, Phil never told me; I heard it on the radio like everyone else and was quite surprised. I read an interview with [Thin Lizzy guitarist] Scott Gorham where he talked about Phil’s fascination with cowboys and Texas, and how they planned to spend a lot of time in Dallas. While rehearsing there, they frequently came to the Mother Blues club, where my band, Lightning, played. In “Rocky,” when Phil sings, “…and all he needs is his old guitar,” he’s talking about my ’58 cherryburst or ’53 Les Paul. Those were my go-to axes at that time.

You were pals with Stevie Ray Vaughan. What was he like?
Steve Vaughan and I met in elementary school and became very good childhood friends, all because of the fifth-grade talent show. I played “House of the Rising Sun,” “Secret Agent Man,” and “I’m Not Your Steppin’ Stone” on my ES-330; afterward, Steve walked up and said, “I play guitar, too,” and our friendship began. Both of us had older brothers who were about the same age, we were heavily influenced by their choices. In junior high, we ate lunch together and talked about the newest guitar players and what kind of guitars and amps they were using. Later, whenever we ran into each other, he was always just the same old Steve, friendly as ever and funny.

John Mayall’s harp sounds great on “Long Grey Mare.” Working in the Bluesbreakers, did John give you any lasting lessons for your music or career?
I learned my best lesson from John when I went to California to meet him and record Tough. I asked him how he wanted me to play, and I’ll never forget what he said. John told me he listened to my CDs from A-Z and knew what I could do. He said, “Just be yourself. That’s why I hired you – I want you to be you.” That gave me the confidence to bring my attitude to the project; I take that with me. I am who I am and I do not make apologies for it or change my style for anyone. Being authentically yourself is always the way to go, and I learned that from John Mayall himself.

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.