Finally I’m back, finally my health is better, and here is the next co-production with Steve:
Steve from England had sent me a keyboard track that constantly changes between major and minor of the same root, with some percussion added. He told me he had been playing around with the keyboard lately – and that was a surprise to me, for I knew him as a guitar player.
I liked the feeling of the track with the working title “Latin”. Of course it is a so-called Latin rhythm; only I don’t like the term and so decided to add some sparkle from another one of my son’s pictures.
Steve agreed with my proposal to add some more percussion to make it sound more lively. It was pure fun to play these instruments, but my personal highlight was the guitar solo I recorded immediately afterwards. This was the first time I achieved a sound with a Santana-like sustain and a similar character, and ironically I achieved it with the Jaguar, the good old tube screamer and my Vox AC 15. Not at all the kind of tools one would expect, but I had often tried it with Les Pauls or SGs and never succeeded! The Jaguar has a more nasal sound quality to it (which I like), and I consider my sound not a copy (which it isn’t and I couldn’t) but a parallel.
Anyway, this is not a bad one, and I wish I could have presented it earlier. I would like to thank Steve for giving me this opportunity with his inspiring track. In my earlier years as a musician I never came much forward with soloing, being mostly the bass player. So in a way, this track is a dream come true…
When putting the music for this post together, an old children’s game came to my mind. It is called “Himmel und Hölle” (heaven and hell) in German, but it is widespread and known under different names in many countries. A squarish multicolored piece of paper gets folded into several compartments that can be opened with your fingers, showing either the “heaven” or the “hell” part. Children also use the game to “predict the future” by writing numerals on each compartment that apply to a code on another piece of paper.
guitar & gear: Ibanez Lawsuit SG, Fender Tweed Champ for the basic track, Vox AC 50 for the solos, Tube Reverb
While listening, stick to it after 1:20! The real mystery only begins there. Guess what it is you’re looking at?
guitar & gear: Fender Jaguar, Fender Tweed Champ, Cry Baby Classic Wah (fixed), Roland Space Echo
mikes: Electro Voice RE-20, Neumann KMS 105
Personally, I don’t paint guitars. To me it’s sufficient to have great instruments with great sounds at hand, and to play the psychedelic way. I don’t feel the need to show my musical preferences with ostentation.
But there are continuous searches for psychedelically painted instruments hitting my blog, and I would like to show those interested the way to some pictures:
There is THE psychedelic looking guitar! The SG Eric Clapton played during his Cream period, called “The Fool” is the best-known example, and it’s awesome. It can be an inspiration for those willing to do a similar job.
here or here
Or look at an acoustic guitar
The photo below shows a 1967 strat that in a way painted itself psychedelically by aging. This process has only just begun – maybe some decades from now stars and angels will complete the volcano-like spot on the side of its body…
Back in 1966, when psychedelic art was about to embark.
Two seminal songs: The above mentioned by the Rolling Stones (which I stole the title from and made up a new music to accompany it), and the undeservedly overlooked “Rain” by the Beatles. The latter being published only as a single (not found on an original album), contains the first backwards recording ever and Ringos best drumming ever.
These songs are extreme in a way, as is the track above (coming in three movements) in another. It’s a different time, and a different player, who doesn’t want to compare to those giants…
A snapshot from inside a train, the photograph below simply made me think of “Paint it black”, whereas the music was cut on a different occasion and originally called “Scary”.
guitar & gear: ’67 Stratocaster, Vox AC 50, Gerd Schulte Phaser, Tube Reverb
guitar & gear: Gibson Les Paul Special, coming in two tracks; Vox ToneLab, Tube Reverb
Would any color be as striking if presented on its own, without the help of a contrasting color? (This could be seen as applying to other issues as well…).
When listening, there is an awfully mistuned chord (about 12 seconds into the tune) we have to accept as the price of improvisation – grumble… Coming soon: a reflection on “embracing mistakes”.
guitar & gear: Epiphone Les Paul Custom, Vox AC 15 Heritage, Tube Reverb