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Fender and Volkswagen came out with this last year, and Fender’s plugging it again. I dismissed it at first as a gimmick, but it looks like it’s here for another round for this year’s Beetle, Passat, and Jetta, though the premier plug is for the Beetle. As both Fender and Volkwagen put it, “the best seat in the house behind the wheel of a Volkswagen.” This time I watched videos, and sure, it’s a pretty cool system. But despite that, I still have a beef: An American guitar icon in a German vehicle? At least for me, when I think rock and roll and cars, I picture an American muscle, bad-ass, pussy-wagon like a Camaro SS, Shelby, Charger, or a Corvette. But a Beetle? I don’t give a rat’s ass if it has a turbo-charger. It ain’t a bad-ass American muscle car!

Think about it yourself. Think of rock and roll and then picture a car that goes with that rock and roll ideal. It’s quite likely that it’s not a Euro-bred exotic like a Lambo or Ferrari or Mercedes. Or if you’re into bikes, it’s a Harley, not a Gold Wing. Even if you compare drivers and rock and roll, who pops into your mind? It ain’t Michael Schumacher. It’s John Force or Don Garlitz (goin’ old-school here) or Paul Tracy or Dale Earnhardt (Senior and Junior).

Fender and Volkswagen don’t seem to fit to me. The brand targets are so different. Look, I had a New Beetle when they first came out. It was a fun, cruiser-mobile. I even had a daisy that I put in the mini flower vase on the control panel. But in no way would I consider it to be a rock and roll vehicle. I always knew while I had it that the New Beetle was for 20- or 30-something chicks who were into or needed something eclectic in their lives, or techno-geeks like me who didn’t want to buy a beemer with their high-tech winnings (thank gawd the Prius wasn’t out then).

I subscribe to the Lefsets Letter. Bob Lefsetz is a music industry “insider” without really having been on the inside. But he tooted his horn, was often brutally honest with his views, and the industry listens to the guy. I’ve got to admit that despite his often pessimistic vitriol he makes a helluva lot of sense; enough sense that major, heavy-hitters read his letter, and send him email on a regular basis. This morning, I was surprised to see an email from Steve Lukather. Here’s an excerpt:

Damn the soundtrack of my childhood Bob.
I LOVE all these records so much.
The whole 60’s era of music will never get old to me.
The songs, the production the musicians, and let us not forget the STUDIO players in LA-NYC-Nashville-London and Motown!!
Oh the bands were great too but many had ‘ ringers’ ya know. THE guys.

And the singers!
Nothing remotely close today for me.

Everyone uses the same f**king plug in’s and over compression on everything and the same drum samples etc..
It is like seeing how many twinkies you can shove in your urethra. Painful and pointless.

I was recently thinking about what singers are doing today, and it’s all the same crap. It seems that very few pop singers can get through a song without doing some sort of Whitney-Houston-gospel-chorus-inspired vocal run every chance they get. Male and female vocalists alike are guilty of this. Singers like Whitney could pull it off because they were some of the first to really use it and it set them apart. But now all of pop-dom does it, whether they have the vocal chops (as in strength) to do it or not. Believe me, most don’t. You need lots of power to pull off those modulated vocal runs, and there just aren’t very many powerful singers out there. Unfortunately, for many pop singers, this is the norm, and it’s perpetuated by the music industry. But if you want to be different, you gotta break out of the box.

On Lukather’s view on over-compression and using the same drum samples, I totally agree, and the twinkie thing says it all! 🙂

goldtop

Saw this on Facebook and had to share it. Here’s the accompanying blurb:

Gibson Custom has reformulated its Goldtop finish to match the original’s deep, dark, gold luster. The Goldtop’s back is also reformulated to match the original from the 1950s.

In the case of the updated Gold, you will notice a deeper, richer finish with a slightly “greener” caste. On the guitar’s back, you will see a noticeable increase in the visibility of mahogany grain and a more severe effect on the final color that comes from the wood’s individual personality. As it was in the 1950s, each guitar back results in a very individual look, based on the use of vintage finish formulations and application techniques, and the characteristics of each individual piece of wood.

That’s pretty awesome if you’re into Les Pauls, and a part of me is saying, “Oooh. I want one.” But the more pessimistic side of me is peaking out and saying, “Nice. Now let’s see what surcharge they’ll apply to these…”

I played a funeral service yesterday morning. I’ve probably done a couple of hundred over the years. Most of the time they’re pretty sad affairs as expected. Family and friends talk about how loving and caring the deceased was, how involved they were with their family, etc., etc.. This one was no exception in that regard. But it was also very different, and it was also very moving.

What made it so moving were the stories everyone had to tell. They weren’t all rosy. They spoke of hardship. They spoke of struggling. They also spoke of overcoming those hardships by facing them head-on and not crumbling. They of course spoke of love. In all, they stories of the woman who had passed away made her seem so real, and it made it very clear to me that this woman lived a full life; uncompromising in her values and uncompromising about her deep feelings for the people around her.

But in another twist, people spoke of how she shared her life and experiences with them; maybe to teach them a lesson, or simply to pass the time.

All that made me think: What kinds of stories will people tell of me when I pass away, but more importantly, what stories am I able to share about me with others? I’ve been contemplating this for the last day, and that brings me to the title of this article.

What I came to realize is that you really can’t tell any stories unless you’re experiencing life. Conversely, stories can’t be told about you if you’re not showing up. Woody Allen is often credited with the saying, “90% of life is just showing up.” To me, that’s all about getting myself out there. Being involved and really putting MYSELF out there, not a facsimile of whom I think I or anyone thinks I should be, but showing up as me. The other 10% is execution: You’ve made it, now do it…

A big part of the philosophy is reflected in why I gig so much. Right now, I’m gigging four nights a week. It’s not about the money. It’s about the playing. I’m exhausted as all get-out as I write this, but I’ve never been so fulfilled in all of my musical career.

Take for instance last night’s gig. Yesterday afternoon, I watched this video on YouTube. I ran across it randomly as I was looking for something entirely different (leave it up to Google’s search algorithm to come up with things that I’m interested in besides my specific search query). Curious, I watched it, and I realized that I was doing something similar to that for years. But with that video, I was able to finally intellectualize something I’d done by feel for a long time. Essentially, it’s taking a modal approach to the minor pentatonic scale, and it’s extremely powerful. Combined with my recent forays into major-scale, modal theory, it has given me yet another tool to use for improvising.

I applied it last night, and the experience was simply transformative. It was amazing because I felt as if I was telling a story while I was playing; that that particular skill opened up even more musical vocabulary into which I could tap. A young couple who was sitting near where I was playing actually stayed a lot longer than they were originally planning. As they left, the woman of the couple said to me, “Your playing was incredible. Couldn’t believe the phrasing you were using. It wasn’t rock, but it wasn’t jazz either. Really awesome.” I was awestruck by that. It was obvious that she was a musician. I’ve never really considered myself to be possessed of real improv talent. I’ve always just done it, and didn’t really think about it. But to hear something like that just blew me away.

The point to me sharing this is that on the way to my gig, after all my contemplations on story-telling that afternoon, I had the full intent of telling my story last night. It was a risk because I didn’t know how it would go, and when you do covers, people expect songs to be played a certain way. But I went for it anyway, and it was life-changing.

After the gig, I came up with the saying that I used for the title of this article. I couldn’t have told a story with tapping into my life experiences, and it made me think that if closed myself off from life I’d never have the experience to tell a story in the first place.

lp12stringMy bouts with GAS became fewer and fewer. It’s not that I stopped buying gear – for goodness’ sake I just purchased another guitar! But that craze that would put me in a feeding frenzy and I’d shell out thousands on gear – most of which I don’t use any longer – just doesn’t happen all that much any longer. In fact, even with my new, beloved Katie May, I didn’t suffer any GAS at all.

People who are close to me might say it’s all the wine I drink, but to be completely honest, I taste a lot of wine, but don’t really drink a lot of wine; there’s a HUGE difference. You could also say, I’m a bit more mindful of my pocketbook. I am. I surely don’t have a recent IPO to thank for that, though I’m working on it.

Looking back on those days when I’d get a GAS attack, I’d walk into a music store – one bad one in particular is Tone Merchants in Orange, CA which is like walking into f-in’ gear heaven (or more locally, Gelb Music in Redwood City, CA) – and I felt like I had walked into a brothel where I could try all the girls before I actually paid for the one with whom I’d eventually spend a protracted amount of time, and the cool thing was that they were all clean, and I didn’t have to worry about catching some STD. After trying out all the different alternatives, the money would be burning a hole in my pocket! And wise choice or not, I’d walk out with SOMETHING, be it a guitar, an amp, an exotic pedal.

And the sales guys, if you’ve been buying from them for a long time know this about you. They don’t waste time showing you the new-fangled stuff just because it’s new. They know better. Instead, they show you stuff that they know will get you into that feeding frenzy. It’s not a bad thing. Hell, I have lots of GREAT gear that I still use on a regular basis, but those few years of being hasty and at times indiscriminate actually kind of burned me out.

You notice that on this blog I don’t write as many gear reviews as I used to. There was a time when I was reviewing at least a three or four items a month, if not more so. But lately, I’ve been a lot more into gear from a different perspective; and that is how it fits into my sound.

For instance, take the Tattooed Lady Overdrive I recently reviewed by the Circus Freak Music guys. This is an absolutely kick-ass overdrive with lots of internal gain and lots of volume to really push the front-end of your amp. This is a pedal that I would add to my chain; actually, I haven’t told the boys over there about it yet, but I’m keeping the pedal – I’ll pay for it of course, but I’m still keeping it. 🙂 I got this for review, and even though I discovered it to be insanely awesome, it didn’t give me that tingly feeling I’d get in my gut when it arrived on my doorstep. In fact, I got the box, opened it up, plugged it in and just started to play. What made me decide to keep it was its versatility. I could use it as a standalone clipping device, but I could also use it as a nice little booster. It also stacks well with my Timmy; much more so than my Tone Freak Abunai 2, which is also an insanely good overdrive (that’s still on my board as well because it has a nice color to it – I took it off for awhile, but it keeps on coming back).

The point is that after all those years of sucking up gear, it’s not that I got burned out. I just found my fundamental tone. It’s also not that I don’t want to screw with that, it’s just that I’m not as compelled towards tonal discovery.

I don’t think my GAS is cured. I think it just takes a lot more to spark it.

ROCK ON!!!

I love reading the comments people make on other gear sites. For instance, check out this discussion at Premier Guitar.

Okay, these are supposed to be going to charity for Clapton’s Crossroads center, but c’mon now… The Crossroads rehab costs $24,500 for the 29 day program and $31,500 for extended six-week program. Plus, it’s in Antigua! Guitar Center is billing this collection as a way for Eric to “give back,” but let’s face it: The proceeds are going to fund a One-Percenters’ drug rehab/vacation camp in the Caribbean. 🙂 By the way, the program fees don’t include travel nor the $500 medical emergency fee, just in case campers smuggle in a fix and accidentally OD.

Look, I’m being facetious, and maybe a bit harsh, but these are just guitars (and replicas with NO history – or an inherited one at the most – for that matter), and while the rehab center may be a good thing, it really doesn’t benefit anyone but those in the financial top-tier; and of course, Eric Clapton. And at those prices, only those same rich campers that can afford the Crossroads rehab center will be buying those guitars, except for maybe the $5999 Martin. I wonder though if campers get a break on their program fee if they buy one… Perhaps if they bought the $50k Martin their program fee would be waived completely!

I can see the ad now: Buy the $50k Martin, and attend the 29-day program for free. Also buy the Brownie replica and you can do the full six-week program at no charge. In either case, we’ll also waive the $500 you-fucked-up-medical-emergency fee. So act now! Supplies are limited!

Wow! All this brings to mind The Who’s Tommy…

DSC_0344I’ve been on this reggae kick lately, and was tooling around with a riff the other day. Not sure if it’ll ever become an actual song, but while I was laying down the track, I thought that it would be cool to lay down a solo track with a dirty guitar. I was thinking about a singing lead with lots of sustain. So I pulled out the Circus Freak Tattooed Lady overdrive, and let ‘er rip. Up to that point, I had only used the pedal with my Les Pauls, and was thoroughly impressed with it. But with my Slash L “Katie May,” the sound was other-worldly!

It had a crying-like quality to it that literally stunned me. It’s hard to describe what I was feeling when I heard it, but it’s akin to the feeling you get when hearing something so completely unexpected and so completely beautiful that you have to stop and say, “Did I REALLY hear that?” Then playing it again just confirms that yes, you really did hear that.

I must’ve played over the loop for a couple of hours before I decided to track it. The sound that this pedal creates is simply incredible. Here’s a clip:

When I got up above the 14th fret, I couldn’t believe how the pedal created this wailing sound. To me, it’s breathtaking.

Anyway, I know that I’ve mentioned that this pedal is fantastic standalone, but in this case, I actually used it to help drive my DV Mark Little 40, so the breakup that you hear is a combination of the clipping of the pedal with the clipping of the front-end of my amp. I have the amp set at the edge of breakup with the pedal disengaged. The volume on the pedal is set to about 11am, with the drive between 2 and 3 pm. Bass and Treble are both at about 1pm.

Adventures in Looping

boss-rc-2I’ve had my BOSS RC-2 Loop Station for almost three years now, and it has only been in the last month or so that I’ve actually put it to use on a regular basis. Frankly, I’m not too sure why I hadn’t used it. But since I’ve started using it, I’ve been having a blast!

I think what inspired me to start using it was the release of the TC Electronic Ditto Looper. I was very impressed by its simplicity, and then it occurred to me that the RC-2 was actually very simple to use if memory served. So I set up the RC-2 with my VHT Special 6, and started to play around with it for a few days.

To be honest, when I first started using it in those practice sessions, I was a little overwhelmed and intimidated, even with such a simple looper! But after awhile, I started to get the hang of it, and worked up the confidence to use it at my solo gig.

I now use it quite a bit. Most of the time, I use it for specific songs like Bill Withers’ “Ain’t No Sunshine” or Clapton’s “Wondeful Tonight.” But lately, I’ve had some riffs pop into my head during my gig, and I’ll tap out a rhythm, lay down the rhythm guitar, then just jam over it. It has added a lot of life into my gig; mind you, I’m into my 13th year playing this weekly gig, so any way I can add a new dimension to it breaks up the monotony.

Frankly, I don’t know if I’ll get another, more sophisticated looper. I’ve seen some amazing things people do with them, but for me, simple is good for right now.

crossroads_collection

So I get this press release from Guitar Center that says they collaborated with Eric Clapton to come up with a 5-guitar series in partnership with Fender, Martin and Gibson called the “The Crossroads Guitar Collection” commemorating the Crossroads music festival. The Strat is a reproduction of “Brownie,” the Les Paul that of “Lucy,” and three Martin acoustics.

I thought to myself, “Pretty cool stuff…” until I saw the price tag of “Brownie” which is $14,999.

I know, it’s that whole issue of owning a piece of history bit with an exacting reproduction of a an iconic guitar, etc., etc., etc.. But that’s the issue for me: It’s a reproduction of a piece of history. Things like this are like those late-night commercials you see from the American Coin Company or some coin collectors outfit hawking authentic Buffalo nickels. “And you can have one of these rare pieces of blues history for only fourteen-thousand-nine-hundred-ninety-nine dollars. Visa, MasterCard, and American Express all welcome. Don’t wait! Only a few will be made available, so don’t miss YOUR chance!”

“Lucy” is the same price. The Martin 000-45 Brazilian though takes the cake at $49,999.

Look, if you’re a collector and have that kind of money to invest in one of these guitars, more power to you! Maybe I’m being naive like Tom Hanks in the movie, “Big,” but I don’t get it! 🙂

A good buddy sent this eBay auction to check out: http://www.ebay.com/itm/271149509473?_trksid=p5197.c0.m619. As of this writing, the bidding is up to $50k. Yikes!

I’ve played a Dumble ODS. The sound and dynamics are, in a word, magic, and I haven’t found anything in all the amps I’ve played since capture that magic. In the videos I made of the amp, I said that I think based upon playing it that it was worth the money.

But here’s the catch: while I think it is certainly worth the money, I’m not sure if my audience would be able to tell the difference. Up close and personal, the amp is absolutely incredible. But on a stage mixed in with a band? Not sure that playing a Dumble versus a Fuchs or Two Rock would make much of a difference. The only person who would be able to tell would be me. But if another amp inspires me while I’m playing, then having a Dumble wouldn’t make a difference in any case. I guess the point is that inspiration doesn’t have to cost fifty grand…