Oh man,,, I haven't had that one on for a long while! What a great album!
Thanks, I just put it on and it's blasting now!
Recorded in a few days in the south of France with almost no overdubs
Vintage Keith Richards with a Tele on the electric songs, and an acoustic on a lot of it.
He used a lot of different guitars on a lot of different albums, but it sounds like it's a Telecaster all the way through on Exiles.
He had it plugged into a Twin Reverb, slaved to a little Champ for the dirt,, and nothing else. (Well, probably a cigarette in his mouth and some Jack Daniels hanging around.)
No low E string on that tele with the guitar tuned to open G tuning and a capo for different keys.
He gave an interview after that where he described his guitar style:
5 strings, 3 fingers, two hands and an asshole.
I just heard that he has one of the coolest collection of guitars in the world. Like 1500 + , many, many vintage ones.
Be kind, man
Don't be mankind. ~Captain Beefheart
__________________________________
Despite his skull ring and knuckles-in-your-face stance, rock and roll's ultimate outlaw proves to be a charming conversationalist, equal parts rogue, seer, cultural historian and Peter O'Toole in My Favorite Year. Keith laces his answers with wheezy, rascally laughs and reckless cigarette jabs, and no subject seems taboo. Like his guitar playing with the Rolling Stones and the X-Pensive Winos, Keith's thoughts are intuitive and funky, stripped down to the essential.
Music editor Jesse Gress and I met with Keith a few days after Richards finished mixing Main Offender. He co-produced his second solo album with guitarist Waddy Wachtel and drummer Steve Jordan, who shared songwriting and production credits with Keith on 1988's Talk Is Cheap and Keith Richards and the X-Pensive Live at the Hollywood Palladium.
Although no other Stones appeared on Talk Is Cheap, Guitar Player called it the best Stones album in 17 years, and Main Offender mines the same vein. The grungy "999" projects a looseness worthy of Exile on Main Street. "Words of Wonder" taps into Richards' love of heartbeat reggae, while "Yap Yap," "Hate It When You Leave," and "Demon" reveal his gentler passions. "Wicked as It Seems," "Runnin' Too Deep," and "Will But You Won't" provide prime examples of Richards' distinctive open-G-tuned 5-string guitar style.
Jesse and I were looking at the photo of vintage fuzztones in the October '92 Guitar Player when Keith sauntered into the room, a large tumbler in hand. He peeked over our shoulders and began the interview.
"We burnt the amps up and turned the shit up, and it still wasn't right."
Oh, vintage fuzztones? Well, there's the first one [points to the Colorsound]. But where's that fucking "Satisfaction" one? They bunged me. I mean, it was a miracle. Whatever it was, it was the first one Gibson made [the Maestro Fuzz-Tone]. I was screaming for more distortion: "This riff's really gotta really hang hard and long," and we burnt the amps up and turned the shit up, and it still wasn't right. And then Ian Stewart went around the corner to Eli Wallach's Music City or something and came around with a distortion box. "Try this." It was as offhand as that. It was just from nowhere. I never really got into the thing after that, either. It had a very limited use, but it was just the right time for that song. The riff was going to make that song or break it on the length that you could drag that [sings fuzz line] -- unless you wanna get horns, which didn't work. We didn't have the time, and it wouldn't sound right. Yeah, it was one of those fortuitous things.
Distortion has become extremely popular again.
I suppose it's got something to do with the state of everybody's life. [Laughs uproariously.]
You've certainly been guilty of some pretty filthy guitar tones.
Yeah, man. Still lookin' for 'em.
"999."
It's bad, huh? Yeah, I figured you might be talking about that. Believe it or not, that's through a Palmer speaker simulator. A little box, no speakers. This is against all my principles, right? I plugged that mother in, and it's also through a Twin. But that sound basically comes out of the Palmer. Waddy and I are purists about amp sounds, but we couldn't deny that thing. At the right setting, it was, "Whoa! Hey! We can get this now, but it's taken a long time to find it."
Traditionally, how would you go about getting a nice distortion?
I'd set up that Twin and maybe slave a little Champ. Put it through the both of 'em and then mix. If I'm looking for some kind of distortion, I usually use two amps rather than go for it out of one thing, because I've always found that a really good distortion needs to come from two different places. Obviously it's not true for "Satisfaction," where it's an obvious thing, but you want some distortion and some clarity at the same time where you need it, so I'd rather put it through two amps and overload one of them.
Small amps?
Yeah. Champ or a little Silvertone, a Kay thing. I've got these little relics lying around, all of those weirdo amps. Bump that one up, use the other one for clear, and then you can mix the two in where you want them. It's very rare on a track that you want the same sort of distortion all the way through. I like to be able to play with it, so I can bring one amp up. Put them on separate tracks so you can juice the distortion where you want it. You have the opportunity to play around with it after you've played it, because when you're playing it, you're not going to hear exactly what's going down on the tape. You've got the cans on.
You have a Fender Twin that's serial number #A00003. Is that the third one made?
Yeah. It's a bad amp, man! I wish I'd had it from day one! It takes a while to find those
Info was taken from the Web Site of Guitar Player Magazine...check it out!
WHAT IS THAT NOISE?
Hanging at www.TheGuitarHub.com
The only Forum for players by players.......
Playing Les Pauls, Teles, Hubers, Gustavssons, Kolls through a Mad Professor amp with a Bob Burt Cab.
BJF powers my Pedal Board
He had it plugged into a Twin Reverb, slaved to a little Champ for the dirt,, and nothing else. (Well, probably a cigarette in his mouth and some Jack Daniels hanging around.)
Probably not a Twin Reverb. Keith still plays low powered Tweed Twins, like the recent Fender Reissue... they are 40 watts or so, 6L6 through two 12" speakers...
They have more grit than a typicaly Twin Reverb which has more power on tap... The Tweed Twins were cool as they had two rectifier tubes as well... they had less sag than a typical tweed Fender, and therefore had a tighter sound, and didn't fart out in the bass like a tweed deluxe or super tended to...
I played through a nice Twin the other day... wow, it made me want a real tube amp again, very badly.
Probably not a Twin Reverb. Keith still plays low powered Tweed Twins, like the recent Fender Reissue... they are 40 watts or so, 6L6 through two 12" speakers...
They have more grit than a typicaly Twin Reverb which has more power on tap... The Tweed Twins were cool as they had two rectifier tubes as well... they had less sag than a typical tweed Fender, and therefore had a tighter sound, and didn't fart out in the bass like a tweed deluxe or super tended to...
I played through a nice Twin the other day... wow, it made me want a real tube amp again, very badly.
This 51 year old dog, Who's_pearljam?, would be willing to make a REALLY big bet that in '71,, Keith was using a mostly twin and a slaved champ to record Exiles.
I know my Keith Richards!
I bought my first guitar in '64 and started playing after I saw the Stones on Ed Sullivan. It was a '57 goldtop it was, but it was just a used Les Paul at the time.. Then I bought a '58 used sunburst Les paul with paper route money in about 68?
Yup, I have good old Keith to thank for me starting to play, and to make a living playing, and to have those guitars. I swear, MIG reached through the computer and hit me upside the head last year when I sold them! :eek:
Of course this old dog just moved to a new house, and can't remember what box he put his music library and notes about equipment in... I'll find it someday!
You may be right for the later years. He's played through all kinds of stuff over the years. Wouldn't it be cool to go down to his basement with a Tele and a cord and just wander around and plug in and play!?
Be kind, man
Don't be mankind. ~Captain Beefheart
__________________________________
I never wanted to reach out and smack you up-side the head.
Until now.
You mock me... and you will pay.
*sigh*
Someday, I'll have a really nice reissue...
I wasn't mocking you and never would! You are the guru of all that is sound, here!!
I think your reissue will be better sounding guitar than my real 57. Old ones have more the Mojo than they have the sound. Speaking of guitars that cost too much! Here ya go!
This 51 year old dog, Who's_pearljam?, would be willing to make a REALLY big bet that in '71,, Keith was using a mostly twin and a slaved champ to record Exiles.
I know my Keith Richards!
I bought my first guitar in '64 and started playing after I saw the Stones on Ed Sullivan. It was a '57 goldtop it was, but it was just a used Les Paul at the time.. Then I bought a '58 used sunburst Les paul with paper route money in about 68?
Yup, I have good old Keith to thank for me starting to play, and to make a living playing, and to have those guitars. I swear, MIG reached through the computer and hit me upside the head last year when I sold them! :eek:
Of course this old dog just moved to a new house, and can't remember what box he put his music library and notes about equipment in... I'll find it someday!
You may be right for the later years. He's played through all kinds of stuff over the years. Wouldn't it be cool to go down to his basement with a Tele and a cord and just wander around and plug in and play!?
Fair enough. I read on the Stones quite a bit as well. Keith Richards is a big influence on me as well. I started playing guitar after the 200 Pearl Jam tour, but I really started PLAYING guitar after getting in to the Stones and the whole Keith Richards/Mick Taylor (or Ron Wood to a lesser extent) guitar dynamic.
It would be very fun to play some of the gear he must have around. It would be great to be able to watch Mick and Keith do a recording session and watch that creative process.
You may be right for the later years. He's played through all kinds of stuff over the years. Wouldn't it be cool to go down to his basement with a Tele and a cord and just wander around and plug in and play!?
Mr Bob,
Funny you say that. I just ran into good old Flapp in Santa Monica. (A mutual friend of Bob's and mine.)
He's been doing just that. He's stopped touring for a while and is doing amp restoration and teching. He went through Keith's collection, and is checking over Billy Gibbon's amps right now. I won't say where their collections are, but apparently they are spectacular. Gibbons has one of the worlds' great collections of guitars, too.
It even holds one that Who's_pearljam? made!
Without a doubt, Exile on Main Street was a Tele and a Twin and a little overheating Champ for the most part.
The '72 tour was supporting that album, and they used a whole stage full of Ampeg SVT's. It was after that that Who's_pearljam, Rob and I each went and bought one. Now we're too old to carry them!
Mr Bob,
Funny you say that. I just ran into good old Flapp in Santa Monica. (A mutual friend of Bob's and mine.)
He's been doing just that. He's stopped touring for a while and is doing amp restoration and teching. He went through Keith's collection, and is checking over Billy Gibbon's amps right now. I won't say where their collections are, but apparently they are spectacular. Gibbons has one of the worlds' great collections of guitars, too.
It even holds one that Who's_pearljam? made!
Without a doubt, Exile on Main Street was a Tele and a Twin and a little overheating Champ for the most part.
The '72 tour was supporting that album, and they used a whole stage full of Ampeg SVT's. It was after that that Who's_pearljam, Rob and I each went and bought one. Now we're too old to carry them!
really cool, thanks for the info.
Billy Gibbons has 2 of just about every cool guitar related thing imaginable.
He's definately a gearhead. I'd love to shop with him.
the new fender 57 twin is fantastic, I personally prefer the tweed bassman but for folks looking for that sound, it's really close.
For a reissue it seems to me Fender really got it right with the new tweed twin. I wonder what Kieth thinks of them.
My Girlfriend said to me..."How many guitars do you need?" and I replied...."How many pairs of shoes do you need?" She got really quiet.
yield2pj
Posts: 15
Comments
But I'm too broke to bet and I'm not familiar with that one.
Someone tell Bob to get in here...
Thanks, I just put it on and it's blasting now!
Recorded in a few days in the south of France with almost no overdubs
Vintage Keith Richards with a Tele on the electric songs, and an acoustic on a lot of it.
He used a lot of different guitars on a lot of different albums, but it sounds like it's a Telecaster all the way through on Exiles.
He had it plugged into a Twin Reverb, slaved to a little Champ for the dirt,, and nothing else. (Well, probably a cigarette in his mouth and some Jack Daniels hanging around.)
No low E string on that tele with the guitar tuned to open G tuning and a capo for different keys.
He gave an interview after that where he described his guitar style:
5 strings, 3 fingers, two hands and an asshole.
I just heard that he has one of the coolest collection of guitars in the world. Like 1500 + , many, many vintage ones.
Don't be mankind. ~Captain Beefheart
__________________________________
Despite his skull ring and knuckles-in-your-face stance, rock and roll's ultimate outlaw proves to be a charming conversationalist, equal parts rogue, seer, cultural historian and Peter O'Toole in My Favorite Year. Keith laces his answers with wheezy, rascally laughs and reckless cigarette jabs, and no subject seems taboo. Like his guitar playing with the Rolling Stones and the X-Pensive Winos, Keith's thoughts are intuitive and funky, stripped down to the essential.
Music editor Jesse Gress and I met with Keith a few days after Richards finished mixing Main Offender. He co-produced his second solo album with guitarist Waddy Wachtel and drummer Steve Jordan, who shared songwriting and production credits with Keith on 1988's Talk Is Cheap and Keith Richards and the X-Pensive Live at the Hollywood Palladium.
Although no other Stones appeared on Talk Is Cheap, Guitar Player called it the best Stones album in 17 years, and Main Offender mines the same vein. The grungy "999" projects a looseness worthy of Exile on Main Street. "Words of Wonder" taps into Richards' love of heartbeat reggae, while "Yap Yap," "Hate It When You Leave," and "Demon" reveal his gentler passions. "Wicked as It Seems," "Runnin' Too Deep," and "Will But You Won't" provide prime examples of Richards' distinctive open-G-tuned 5-string guitar style.
Jesse and I were looking at the photo of vintage fuzztones in the October '92 Guitar Player when Keith sauntered into the room, a large tumbler in hand. He peeked over our shoulders and began the interview.
"We burnt the amps up and turned the shit up, and it still wasn't right."
Oh, vintage fuzztones? Well, there's the first one [points to the Colorsound]. But where's that fucking "Satisfaction" one? They bunged me. I mean, it was a miracle. Whatever it was, it was the first one Gibson made [the Maestro Fuzz-Tone]. I was screaming for more distortion: "This riff's really gotta really hang hard and long," and we burnt the amps up and turned the shit up, and it still wasn't right. And then Ian Stewart went around the corner to Eli Wallach's Music City or something and came around with a distortion box. "Try this." It was as offhand as that. It was just from nowhere. I never really got into the thing after that, either. It had a very limited use, but it was just the right time for that song. The riff was going to make that song or break it on the length that you could drag that [sings fuzz line] -- unless you wanna get horns, which didn't work. We didn't have the time, and it wouldn't sound right. Yeah, it was one of those fortuitous things.
Distortion has become extremely popular again.
I suppose it's got something to do with the state of everybody's life. [Laughs uproariously.]
You've certainly been guilty of some pretty filthy guitar tones.
Yeah, man. Still lookin' for 'em.
"999."
It's bad, huh? Yeah, I figured you might be talking about that. Believe it or not, that's through a Palmer speaker simulator. A little box, no speakers. This is against all my principles, right? I plugged that mother in, and it's also through a Twin. But that sound basically comes out of the Palmer. Waddy and I are purists about amp sounds, but we couldn't deny that thing. At the right setting, it was, "Whoa! Hey! We can get this now, but it's taken a long time to find it."
Traditionally, how would you go about getting a nice distortion?
I'd set up that Twin and maybe slave a little Champ. Put it through the both of 'em and then mix. If I'm looking for some kind of distortion, I usually use two amps rather than go for it out of one thing, because I've always found that a really good distortion needs to come from two different places. Obviously it's not true for "Satisfaction," where it's an obvious thing, but you want some distortion and some clarity at the same time where you need it, so I'd rather put it through two amps and overload one of them.
Small amps?
Yeah. Champ or a little Silvertone, a Kay thing. I've got these little relics lying around, all of those weirdo amps. Bump that one up, use the other one for clear, and then you can mix the two in where you want them. It's very rare on a track that you want the same sort of distortion all the way through. I like to be able to play with it, so I can bring one amp up. Put them on separate tracks so you can juice the distortion where you want it. You have the opportunity to play around with it after you've played it, because when you're playing it, you're not going to hear exactly what's going down on the tape. You've got the cans on.
You have a Fender Twin that's serial number #A00003. Is that the third one made?
Yeah. It's a bad amp, man! I wish I'd had it from day one! It takes a while to find those
Info was taken from the Web Site of Guitar Player Magazine...check it out!
Hanging at www.TheGuitarHub.com
The only Forum for players by players.......
Playing Les Pauls, Teles, Hubers, Gustavssons, Kolls through a Mad Professor amp with a Bob Burt Cab.
BJF powers my Pedal Board
Probably not a Twin Reverb. Keith still plays low powered Tweed Twins, like the recent Fender Reissue... they are 40 watts or so, 6L6 through two 12" speakers...
They have more grit than a typicaly Twin Reverb which has more power on tap... The Tweed Twins were cool as they had two rectifier tubes as well... they had less sag than a typical tweed Fender, and therefore had a tighter sound, and didn't fart out in the bass like a tweed deluxe or super tended to...
I played through a nice Twin the other day... wow, it made me want a real tube amp again, very badly.
This 51 year old dog, Who's_pearljam?, would be willing to make a REALLY big bet that in '71,, Keith was using a mostly twin and a slaved champ to record Exiles.
I know my Keith Richards!
I bought my first guitar in '64 and started playing after I saw the Stones on Ed Sullivan. It was a '57 goldtop it was, but it was just a used Les Paul at the time.. Then I bought a '58 used sunburst Les paul with paper route money in about 68?
Yup, I have good old Keith to thank for me starting to play, and to make a living playing, and to have those guitars. I swear, MIG reached through the computer and hit me upside the head last year when I sold them! :eek:
Of course this old dog just moved to a new house, and can't remember what box he put his music library and notes about equipment in... I'll find it someday!
You may be right for the later years. He's played through all kinds of stuff over the years. Wouldn't it be cool to go down to his basement with a Tele and a cord and just wander around and plug in and play!?
Don't be mankind. ~Captain Beefheart
__________________________________
Just the '57, Bob... just the '57.
Goldtops are like heroin to me.
You wouldn't have wanted it anyway. It was scratched on the back, and it needed new strings.
Don't be mankind. ~Captain Beefheart
__________________________________
I never wanted to reach out and smack you up-side the head.
Until now.
You mock me... and you will pay.
*sigh*
Someday, I'll have a really nice reissue...
Keef=GOD!
Keith Richards circa '94
I wasn't mocking you and never would! You are the guru of all that is sound, here!!
I think your reissue will be better sounding guitar than my real 57. Old ones have more the Mojo than they have the sound. Speaking of guitars that cost too much! Here ya go!
http://www.elderly.com/vintage/items/45U-948.htm
Don't be mankind. ~Captain Beefheart
__________________________________
Last Stones tour, at the Tower Theater in Philly, as he stepped up for his solo set in the middle of the show,,, he just made one comment:
"Lookin' a little rough, but feeling pretty good."
Then he showed us all how to play rock and roll.
Don't be mankind. ~Captain Beefheart
__________________________________
Keith Richards circa '94
9-4-05 Calgary (10c Tix!)
8-8-09 Calgary
9-21-12 Calgary (10c Tix! Row 12!!)
My URL
http://www.myspace.com/thehuskytruckers
http://www.facebook.com
Fair enough. I read on the Stones quite a bit as well. Keith Richards is a big influence on me as well. I started playing guitar after the 200 Pearl Jam tour, but I really started PLAYING guitar after getting in to the Stones and the whole Keith Richards/Mick Taylor (or Ron Wood to a lesser extent) guitar dynamic.
It would be very fun to play some of the gear he must have around. It would be great to be able to watch Mick and Keith do a recording session and watch that creative process.
Mr Bob,
Funny you say that. I just ran into good old Flapp in Santa Monica. (A mutual friend of Bob's and mine.)
He's been doing just that. He's stopped touring for a while and is doing amp restoration and teching. He went through Keith's collection, and is checking over Billy Gibbon's amps right now. I won't say where their collections are, but apparently they are spectacular. Gibbons has one of the worlds' great collections of guitars, too.
It even holds one that Who's_pearljam? made!
Without a doubt, Exile on Main Street was a Tele and a Twin and a little overheating Champ for the most part.
The '72 tour was supporting that album, and they used a whole stage full of Ampeg SVT's. It was after that that Who's_pearljam, Rob and I each went and bought one. Now we're too old to carry them!
really cool, thanks for the info.
Billy Gibbons has 2 of just about every cool guitar related thing imaginable.
He's definately a gearhead. I'd love to shop with him.
the new fender 57 twin is fantastic, I personally prefer the tweed bassman but for folks looking for that sound, it's really close.
For a reissue it seems to me Fender really got it right with the new tweed twin. I wonder what Kieth thinks of them.