The Inspirational Bliss of Los Lonely Boys’ Henry Garza

By Darrin Fox
“Our music is for everybody,” proclaims Los Lonely Boys guitarist Henry Garza, “from a baby in the womb to a 90-year-old.”

Well, If the deluge of mainstream press cheese is any indication, Garza is right, as the Texas trio’s eponymous debut [Or/Epic] sports a bonafide hit with the bouncy, feel-good single “Heaven.” But that, my friends, is only part of the story.

Los Lonely Boys sound is the sound of Garza’s guitar playing. His style draws heavily—and equally—from Stevie Ray Vaughan and Carlos Santana. And the group’s songs aren’t just pop tunes with a couple of flashy solos thrown in to remind everyone that a “hot” guitarist actually resides in the band. Garza’s guitar playing takes up just as much space as did SRV’s in Double Trouble. (Yup, that’s a lot.) One of the best examples of this on Los Lonely Boys is the tour de force “Onda,” a nearly nine-minute workout in which Garza summons the otherworldly power of Santana’s “Soul Sacrifice,” but adds his own flavor by slathering it in smoky Texas BBQ sauce.

Los Lonely Boys is comprised of three brothers: Henry, JoJo on bass, and Ringo on drums. The boys’ father, Ringo Sr., was a musician himself who fronted the popular Conjunto band, the Falcones, during the ’70s and ’80s. Throughout their childhoods, the boys backed their father in a variety of settings, from traditional Conjunto to country to oldies gigs.

“We were lucky because our dad didn’t just pass on his musical ability, he also gave us his curiosity,” says Garza. “Each of us has been influenced by so many different types of music, yet, because it’s in our blood, it comes out sounding very pure and natural.”

Whether it’s a poppy ballad or a balls-to-the-wall jam, your playing always maintains that off-the-cuff feel. How do you manage that?
To tell you the truth, it’s hard for me to explain what I’m doing, or what I’m thinking when it comes to my guitar playing. It’s a natural kind of thing. But I guess if I’m thinking of anything, it’s Texas.

Meaning your Texas guitar influences, or Texas as your home?
Both. We’ve been out on the road forever, and I miss my family a lot. So it helps my playing when I can zero in on my roots. But as far as guitar playing goes, I actually do think of my influences from Texas while I’m onstage. Like when I want to sound like a bad-ass, I think of Billy Gibbons. Or maybe I’ll think of Stevie Ray Vaughan and his tone and touch—to me that’s the sound of being free. Maybe even Jimmie Vaughan, who I dug when he was in the Fabulous Thunderbirds—you know, back when he used a pick. Now he just uses his fingers, and it sounds kind of weird to me.

Your influences obviously mean a lot to you. How do you separate yourself from them and find your own voice?
Well, you have to draw from your own experiences as a human being. I tell you, man, when I was 18, I lost my son, Enrico, to SIDS. After that, my guitar playing got that much more intense. Those tough times in your life come out in your playing and people know it—they can feel it. However, I did go through a period of not knowing who I was, and just settling with being a Stevie Ray or Hendrix clone. You know what, though? I realized that all of them were in me. And those guys wouldn’t want me to just copy them. They were sharing their gift with me.

You guys have been on the road for more than a year supporting your record. Do you find it difficult to keep up the intensity night after night.
Oh yeah, that happens. There are many nights where you’re not comfortable enough to reach within yourself and find that spot. But, oftentimes, you’re the only person who can tell.

When that happens, what do you do to overcome it?
[Laughs] Well, I try and make sure that I have the proper spiritual necessities on hand—an herbal refreshment, if you know what I mean! Whatever it takes to calm down and relax.

Are you very “hands-on” in the studio regarding your tones?
A little. When it comes to technology, though, I’m not the guy you want dealing with all the buttons and wires and meters. You need someone who knows what they’re doing!

“Onda” has such a vibrant, go-for-it feel. Was it tracked live?
That was one take, man—the very first one. We tried to do it again to get some better sounds, but the performances were never as good as the first one.

Is music a type of therapy for you?
Oh yeah. I enjoy playing because it relieves all the stress from the road and the pain of missing my family. Getting up there is like turning a release valve. And there’s nothing better than being able to share that release with people through music.

Do you find that as your popularity grows you have to remind people that it’s all about the music?
Constantly. You have to remind reporters as well as the people at your record label. I don’t want the fans to think I’m happy just because we’re selling records. I’m happy because I’m making music with my brothers.

Do you worry about impressing people with your playing?
No. I’m here to do what I do whether people like it or not—and I’m proud of my playing no matter what. My message is from a higher source. I want to be a teacher and a great guitar role model for the kids just like Santana, Stevie Ray, and Hendrix were to me.