CHEAP WINE AND CIGARETTES With Jess Moskaluke
This was the second release from Jess Moskaluke's "Light Up The Night" album. It was certified gold for Canadian Certified Downloads Certification. I built the guitar groove of this song with the '71 Tele into the Sparkle Drive to the Rokdog amp and utilized the Reverend Charger 290 for double tracking those rhythm parts. I did not do the solo or The Edge (U2) - inspired delay parts.
Listen to the song here
GOOD LOVIN' (With Jess Moskaluke)
The chants on this cut were bassist Brian Kelly, drummer Jason "Binky" Brinkworth and myself. Producer Corey Crowder (Universal Nashville) came up with the idea to give it a joyful air. I used the '71 Tele into the Xotic BB Plus to the Rokdog Amp on all the guitar tracks including the solo. I had a great time creating the call and answer slide part to Jess's vocal during the bridge.
Listen to the song here
USED With Jess Moskaluke
For the intro to this song I used my workhorse '71 Tele into the Sparkle Drive to the Rokdog amp and the Reverend Charger 290 into the Xotic BB Plus to the Rokdog Amp for doubling the rhythm parts. I tried to keep the verses open and light and make the chorus explode with energy. I enjoyed playing the counterpoint with Jess's vocal in the chorus. I did not play the solo or the Edge (U2) - inspired delay parts.
Listen to the song here
TEMPTATION
This single for radio was a hit for Lee Marlow years before when I toured with him. I had always liked this tune so much that I had hoped to someday re-record, re-arrange and produce it. The original had some nice steel guitar playing in it and so I decided to replace those lines with the b-bender on the '71 tele on two of the tracks. One track for electric rhythm and the other for the intro, pushes and fills. A Martin Dreadnaught was used for the acoustic rhythm track and the Reverend Gil Paris was used for creating the mood and buildups (especially towards the bridge) and some of the steel stuff as well (the warbly sustaining chords). I used the trem on it to get the warble. In all, there were five guitar tracks I laid down on this cut. Each part was different and they somehow blended together without overlap. I wanted a more hip, current feel to it rhythmically and for the intro as well, so we really laid into it right off the count. This was my first producing collaboration with producer Miles Patrick Yohnke, and together, we were pleased with the result. The outcome was a tune that took the listener somewhere both musically and lyrically. Thanks brother Miles!
INSTRUMENTAL SOLO
The influence that Jimi Hendrix had on my musical existance is immeasurable. Many call him a Rock God. To me, he was a bluesman. A real bluesman. A Blues God. Listen to some live versions of "Redhouse" sometime. There is one real magical one on YouTube. Yours to discover. Jimi was also a true showman. He put every ounce of his life's inner struggles, and it's celebrations, onto those strings. He took you on a trip by playing in colours. And not just the obvious one. An unchartered musical rainbow journey.
He was just starting to show the world the many more shades he had within. It would have been great to see where his art would have led him to. He was such a talented arranger, songwriter, multi-instrumentalist, and producer, besides being the obvious guitar gifted. I loved his voice too. Especially in the slower tunes where he could really connect with a lyric. His dying perhaps gave us a great life lesson in abstinence. It was tragic. I felt for him. Still do. His family. Because he felt. He really felt. He was always searching. Every note said something. He just ended up on the wrong path. But, there is no denying that his playing affected how the guitar (electric in particular) would be played from that point on. To tap into the level of connection to the instrument he had is vital. To bare your soul for all the world to see. To really let go and surrender. The two things I carry from him is my unending searching and painting in colours. Thanks Jimi. R.I.P.
I thought it would be interesting to put a track here for you to listen to from a clinic I did playing a sort of free floating tune from Jimi's Woodstock performance. On the album it is credited simply as "Instrumental Solo". I heard so much inner struggle from him on that cut. I used the Reverend Gil Paris on this and employed the Les Trem. You will hear a few times where I played an open string in a weird spot. That was when the string popped off the saddle and I had to put it back on the saddle. It's always exciting playing live. I was interested in painting colours on this, especially with the wah and pickup selection. Just searching.
JOANNE (With Lee Marlow)
I thought it would be interesting to add this song to the music page as it gives you an insight into my past and my roots. This song was performed when I was playing with my dear friend Lee Marlow. He was signed to RCA Nashville and we toured non-stop for over three years. It was during these years that so much of my main sound was created and developed. This song was recorded live while being broadcasted on the radio. It was a big hit for Lee. I would have been 22 at the time. I owe Lee a lot of gratitude. He taught me a lot about being a professional musician that I still carry with me to this day.
Love you brother Lee!
DON'T CLOSE YOUR EYES (With Sweet Temptation)
This live track is with CCMA group of the year nominee's Sweet Temptation. It was also recorded live during a radio show. The group was a vocal powerhouse with stellar harmonies. With a killer bass, drum and rhythm section, it was a hot show and such an energetic force to play with. This is really when I started to get into tearing the tunes apart and arranging them. I became more interested in sound and effects at this time. By finding what pieces fit together the best, it helped to develop a more professional and sounding act. This tune was a Keith Whitley hit. What a gift he had. Rest in peace Keith.Your music and voice lives on.
THE RAINS CAME (With Freddy Fender)
This cut is from a tour with Grammy (and multiple other) Award winner Freddy Fender. Freddy was a professional always, and it was a great pleasure working with him. He had such a unique voice and was able to blend his Mexican roots with country music to be one of the forefathers of the Tex-Mex sound. I really loved when he sang in Spanish. This tune was one of the many hits he had during his career. He encouraged me to always lay it all on the line for the audience. He believed in that. He turned to me one night and said, "turn it up man, don't be shy, just let it go!" Rest in peace Freddy. I'll continue to "Tell it like it is" as he used to always say. Thanks for the memories.