![]() ![]() I try a lot of different things, but I always go back to just my fingers, a Cry Baby wah-wah and the amplifier.” I also used the Bludotone 100-watt Universal Tone: it’s an amplifier that’s made in Colorado. Dumble is the sound of flesh against flesh. I used Dumble amplifiers, the 100-watt Overdrive Reverb. “This is the first album that I did not use Mesa/Boogie amplifiers on. All I know is that they sound really good. I don’t know what pickups I’ve got in there I’ll have to ask Paul Reed. Under any weather or any condition, that guitar delivers whatever is needed. What guitars did you use to record Blessings and Miracles ? And he’s in the most important band in the world.” Why don’t we just have a nice conversation?’ Kirk has a vast vocabulary as a guitar player and gunslinger. Kirk was stood right next to me, and I said the same thing to him that I said to Eric Clapton once: ‘Look, man, we don’t need to do the duelling banjos thing. What are your memories of recording America For Sale with Kirk Hammett? A friend of mine, he says, ‘Some people use pentatonics. “No, I left all that in junior high school. We’re like surfers, waiting for the seventh wave.”ĭo you think about things like scales and modes? ![]() To me, it’s like, I keep splashing – and it’s okay. Some people get in trouble because they have a mother who doesn’t like to clean the floor after you splash water out of the bath. “I felt like a child going on a waterslide. How about your guitar work on the first single, Move, with Matchbox Twenty’s Rob Thomas? You have to trust that your fingers will know what to do, where to do it, how to do it, with how much feeling, passion and emotion.” It makes you feel like you should venture into discovering something you also have in you: the language of light that can bring clarity to darkness. “Well, take someone like John McLaughlin, Herbie Hancock, Wayne Shorter, Miles Davis, John Coltrane, Charlie Parker. It takes balls to improvise like that, doesn’t it? So you tell it to get the hell out of the room.” And you don’t want your mind to disturb the baby. When you create a CD like Abraxas, Supernatural or Blessings and Miracles, literally, it’s like giving birth to a baby. “I don’t want to give my mind any room for disturbing what I’m doing. ![]() Because the mind always wants to criticise and analyse everything. I feel it is important to tell my mind to shut up. A track like that, you just have to do it on the spot. “Woodstock, Tito Puente, BB King… I feel all of them on that track. What emotions were going through you while recording that? The guitar instrumental Santana Celebration is like an explosion. ![]()
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