When
did you start playing guitar? I began when I
was 18, but I started on drums when I was
12. I didn't hear any guitarists until I
was 15 or so, because in those days the
saxophone was the instrument that was
happening on record. When you heard a
guitar player, it was always a treat --
so I went out collecting R&B guitar
records. The solos were never long enough
-- they only gave them one chorus, and I
figured the only way I was going to get
to hear enough of what I wanted to hear
was to get an instrument and play it
myself. So I got one for a buck-fifty in
an auction -- an arch-top, f-hole,
cracked bass, unknown-brand thing,
because the whole finish had been sanded
off. It looked like it had been sand
blasted. The strings were about, oh, a
good inch off the fingerboard [laughs],
and I didn't know any chords, but I
started playing lines right away. Then I
started figuring out chords, and finally
got a Mickey Baker book and learned a
bunch of chords off that.
Who
were some of your early guitar
influences?
I used
to like Johnny Guitar Watson, Clarence
"Gatemouth" Brown, Guitar Slim
[Eddy Jones], Matt Murphy.
Were
there bands playing in your town that you
could go and see live?
Yeah,
sure. In San Diego, when I was in high
school down there, they had plenty of
Rhythm and Blues bands. Most of them
played instrumentals. Only a few had
singers.
Were
your parents musical at all?
My
father played guitar when he was in
college. He had an old one sitting around
the house, but it didn't feel as good to
me as the one for a buck-fifty. He played
it about once every three years. He'd
pick it up and go wank-wank-wank, but
that was about all.
How
long did you keep playing drums?
I still
play a little bit now. I had a few
lessons. I went to a summer school once
when I was in Monterey, and they had,
like, basic training for kids who were
going to be in the drum and bugle corps
back in school. I remember the teacher's
name was Keith McKillip, and he was the
rudimental drummer of the area in Pacific
Grove. And they had all these little kids
about eleven or twelve years old lined up
in this room. You didn't have drums, you
had these boards -- not pads, but a plank
laid across some chairs -- and everybody
stood in front of this plank and went
rattlety-tat on it. I didn't have an
actual drum until I was fourteen or
fifteen, and all of my practicing had
been done in my bedroom on the top of
this bureau -- which happened to be a
nice piece of furniture at one time, but
some perverted Italian had painted it
green and the top of it was all scabbed
off from me beating it with the sticks.
Finally my mother got me a drum and
allowed me to practice out in the garage
-- just one snare drum. Then I entered my
rock and roll career at fifteen when I
talked them into getting me a complete
set, which was a kick drum, a rancid
little hi-hat, a snare, one floor tom,
and one 15" ride cymbal. The whole
set cost fifty bucks. I played my first
professional gig at a place called the
Uptown Hall in San Diego, which was in
the Hillcrest District at 40th
and Mead. I remember it well, going to my
first gig: I got over there, set up my
drums, and noticed I had forgotten my only
pair of sticks [laughs]. And I lived way
on the other side of town. I was really
hurting for an instrument in those days.
For band rehearsals, we used this guy
Stuart's house. His father was a preacher
and he didn't have any interest in having
a drum set in the house, but they allowed
me to beat on a pair of pots that I held
between my legs. And I'm sitting there
trying to play shuffles on these two pots
between my legs!
When
did you buy your first electric guitar?
I
didn't get my first one until I was
twenty-one, when I rented a Telecaster
from a music store. Then I bought a
Jazzmaster, which I used for about a year
and a half. I used to play, like, lounge
jobs -- you know, sit on the stool, strum
four chords to a bar, "Anniversary
Waltz," "Happy Birthday,"
one twist number per night, don't turn it
up. All that kind of crap. Nobody else in
the band really knew what the chord
changes were to these dumb songs; they
were all trying to figure out what was
going on. I played places like Tommy
Sandy's, Club Sahara in San Bernadino,
some clubs around West Covina. Really
boring miserable places. I worked with a
group called Joe Perrino and the Mellow
Tones. Then I got a chance to write some
music for a movie and actually earned
something doing that. So with the money I
got from the film job, I bought a Gibson
ES-5 Switchmaster which I used for about
five years. I recorded the first three
albums with that guitar.
What
movie was that?
It was
called Run Home Slow. It was a
western starring Mercedes McCambridge and
was written by my high school English
teacher. It's been on TV a few times.
I've done music for four films. The first
one was called The World's Greatest
Sinner, starring Timothy Cary, about
a guy who thinks he's God, then, later
on, has doubts. Then Run Home Slow,
and a short called Burnt Weeny
Sandwich. Then 200 Motels.
Were
you involved in any serious music before
the Mothers Of Invention?
I had a
three piece power trio called the
Mother's with Les Papp on drums, and Paul
Woods on bass, and we were working in a
place called The Saints & Sinners in
Ontario, California. It was, like, mostly
Mexican laborers, a go-go bar, lots of
beer, a few waitresses who would jump on
the tables -- that type of thing.
Did
you begin singing around the same time
you started playing?
Well, I
used to have to sing with that trio at
the Mexican place, but that was mostly
blues-type songs. I did a little bit of
singing on and off on the first few
albums, but I never thought that I could
really sing. The problem was, with the
lyrics I was writing, it was hard to find
anybody else who felt comfortable singing
those words. They would never get it
across right. So I figured if I was ever
going to get the intention of the lyrics
out, I'd better do it myself. I still
have a horrible time singing and playing
at the same time -- just ridiculous. I
can barely strum a chord and say one word
over it; that's hard coordination for me.
I'd never make it in country and western
music.
Besides
the Switchmaster guitar, what equipment
did you use on Freak Out!?
Just a
Fender Deluxe amp. That's all. After the
Switchmaster, I got a Les Paul gold-top
and used that for a couple of albums,
and, eventually, I got a Gibson SG.
Are
you still using an SG?
I'm
using a variety of things now; I've
branched out quite a bit in the last
couple of years. I've got a couple of
Strats wired up funny ways. Both of them
have preamps built into them, and one has
a special tone control switch which lets
you put both of the pickups out of phase,
and that kind of stuff. The other Strat
has a Barcus-Berry located in the neck,
which gives it a really interesting
sound, because I do a lot of stuff with
my left hand, and it helps the notes
speak a lot faster. It's like the whole
guitar is alive; you can just touch it
anyplace, and hear where you touched the
guitar, because the Barcus-Berry hears
all of it.
What
specifically do you do with your left
hand?
If I
pick one note with my right hand, I'm
playing five with my left. I don't pick
everything that I play, and,
consequently, the action is kept down
pretty close on most of the guitars. I
also do some stuff where I use the pick
on the fingerboard, pressing down and
hitting the strings at the same time. It
gets kind of a Bulgarian bag pipe sound.
An example of that is on the end of the
solo in "Inca Roads" and also
on "Po-Jama People" [both from One
Size Fits All].
Are
you still using the SG pictured on the
cover of the "Live" Roxy
& Elsewhere album?
No, I
have another SG that I'm using. The one
that's on the Roxy cover has
since been thoroughly injured by an
airline company, they beat the hell out
of it. They cracked the neck, and the
most recent time it came back from
Europe, the binding was off the fret
board. I had the neck repaired, but it's
never been the same; it flexes so much
that it's hard to keep in tune, so I
hardly use it anymore. But one time, we
were working down in Phoenix, and this
guy came to the dressing room after the
show with this guitar he'd built and
wanted to sell. He had copied a Gibson
[SG], except he'd added one more fret, so
it went up to an E flat, and it had an
ebony finger board, humbucking pickups,
and some inlay, and some real nice
woodwork on it. He wanted $500 for it,
and I thought it was a real nice guitar,
so I bought it. I had [guitar maker] Rex
Bogue do some stuff to it, add a preamp
and snazz it up, and that's the one I'm
using now. Another on of my Strats is the
one Hendrix burned at the Miami Pop
Festival; It was given to me by this guy
who used to be his roadie. I had it
hanging on the wall in my basement for
years, until, last year, when I gave it
to Rex and said, "Put this sucker
back together," because it was all
tore up. The neck was cracked off, the
body was all fired, and the pickups were
blistered and bubbled. That's the one
that's got the Barcus-Berry in the neck.
A lot of people thought I had Hendrix's
guitar from Monterey, but it was from Miami;
the one at Monterey was white and this
one is sunburst.
Do you use the vibrato arm on the
Stratocaster or the SG?
Well. I
used to use it on the SG a little bit,
but I took it off because it was too hard
to keep the instrument in tune,
specifically the one with the soft neck.
But I use the vibrato arm quite a bit now
on one of the Strats. I don't even have a
vibrato arm on the Hendrix Strat. You can
hear it on Zoot Allures.
What
type of wah-wah do you use?
I have
a Mu-tron and Oberheim VCF [voltage
control filter]. I've got an example of
that on this new album [Zoot Allures].
I'm starting to use some Echoplex now,
which I've generally avoided in the past.
You
use the wah-wah a lot in its bass
position where it acts as a sort of fuzz
boost.
Yeah, I
use it for a tone control. Very seldom do
I just step on it on the beat like on the
old Clapton records where he goes
wacka-wacka-wacka, just to tap your foot
on it. Usually what I do is shape the
notes for phrasing with it, and the
motion of the pedal itself is very
slight. I try to find one center notch in
the thing that's going to emphasize
certain harmonics, and ride it right in
that area. Because if you put it all the
way to the top, it's too squeaky, and if
you put it all the way back, it's too
blurred.
Had
you heard Clapton or Hendrix using the
wah-wah before you started?
As a
matter of fact, I think I was one of the
first people to use the wah-wah pedal.
I'd never even heard of Jimi Hendrix at
the time I bought mine; I didn't even
know who he was. I had used wah-wah on
the Clavinet, guitar and saxophone when
we were doing We're Only in It for
the Money in '67, and that was just
before I met Hendrix. He came over and
sat in with us at the Garrick Theater
that night and was using all the stuff we
had onstage. Seems like every time I went
to Manny's there'd be some new gizmo that
we'd try out, so we were always into the
hardware of the Rock and Roll industry.
How
did Eric Clapton come to appear on We're
Only in It for the Money?
I met
him someplace in New York; I can't
remember where, maybe at one of our
concerts. He played with the Mothers once
at the Shrine in Los Angeles and came
over to my house, but I haven't been on
speaking terms with him for some time
now. He was just in New York one day
hanging out, so I invited him over to the
studio to do the rap that's on We're
Only In It For The Money. People
think he's playing on it, but he's not;
the only thing he's doing on there is
talking.
Did
the two of you ever sit down and trade
ideas on guitar?
No, he
wasn't that kind of musician as far as I
could tell; he wasn't the jamming type.
When I used to live in a log cabin I had
some amps set up in my basement, and he
came over one day and played during one
of our rehearsals. But he didn't like the
amps; we were using Acoustics then, and
he didn't like them. And remember when he
came onstage at the Shrine? Nobody knew
who he was. He came out and played the
set, and nobody payed any attention to
him at all, until he walked off, and I
told the audience 'That was Eric
Clapton.'
What
is an "octave bass" [used on Hot
Rats]?
It's a
bass that's been speeded up an octave to
put it up into guitar range. Speeding it
up not only changes the rate that you
play the notes, but it changes the
envelope of the notes and gives a
punchier attack. And you know how a bass
will ring for a long time? It gives you a
different kind of sustain; the sustain
comes out an octave higher.
Are
there any devices which you've developed
for the guitar?
There's
one thing a guy named Bob Easton
constructed for me called the Electro
Wagnerian Emancipator. It's a very
attractive little device that combines a
frequency follower with a device that
puts our harmony notes to what you're
playing. You can have your choice of any
12 chromatic notes in four parts
following your runs. You can't play
chords with it, but linearly it'll follow
you whether you bend or whatever. Its
main drawback is that the tone that comes
out of it is somewhat like a Farfisa
organ.
What
kind of picks and strings do you use?
I use
Fender Heavy picks, and a use a different
set of strings for each guitar, and I
have about 22 guitars. To give you an
idea, I use either an .008 or .009 on top
[E], an .011 or .012 on the B,
a .016 or .017 on the G, a .024
on the D, anywhere from a .032
to a .038 on the A, and anywhere
from a .046 to a .052 on the low E.
So its medium on the bottom strings, and
they're mainly all Ernie Balls.
What
is your amp setup?
I have
a Vox cabinet with four JBLs in it
[12" each] and another Marshall
cabinet with JBLs. I use a 100-watt
Marshall and an acoustic 270, but I'm
going to redo all that stuff for the next
tour. I'm trying to optimize the sound,
trying to get more of the kind of sound I
like onstage out into the audience, and
you can't always do that just by putting
a mike in front of the amp.
Are
there certain settings you use on the 270
equalizer in conjunction with the guitar
to achieve certain sounds?
It
depends on what kind of hall I'm playing
in. I'm real fussy about equalization and
sometimes there's a compromise between
the kind of sound I want to get onstage
and what the mixer needs to hear out in
the audience, and I'll change things
around like that. But I've used the
100-watt Marshall with the volume at
about 4; I double the inputs into the
bass channel (with a connecting cord),
and the treble is on about 4, and the
bass at about 3; midrange will be
anywhere from 6 to 8; and the presence
will vary from 6 to 10. This is the
average -- the base could be as high as
10 or as low as 0, depending on how much
bottom is needed. And on the 270 the
volume will be on 4; treble all the way
up; the bright switch is on; the midrange
will be on about 75%; the bass will be
about 80%; the graphic equalizer is all
the way up at 80 cycles; about 80% at
160, all the way up at 320, just about
flat at 640, and maybe a little bit of
boost at 1250.
Is
this the same equipment you use for
recording?
In the
studio most of the stuff is played
through a Pignose. I've done all kinds of
things with a Pignose; I've taken it and
put it in a "live" chamber and
taken an [ElectroVoice] RE-20 and stuck
it right in front of the Pignose, and
that will get one kind of sound. It's
actually the sound of an amp, but you can
hear that it's in a room, and the room is
resonant, so it's a realistic sound. On Zoot
Allures about the only thing I used
the Vox bottom and the Marshall top for
was to get feedback on a song called
"Filthy Habits." There's
another song called "The Torture
Never Stops" where it's just
Pignose. Another thing I've done with the
Pignose is just put it out in the middle
of a dead studio, put two mikes on it and
mike it in stereo. It gets a good sound.
Put one mike behind the other so there's
a slight spread to it. I've also put the
Pignose in an echo chamber and miked it,
but not too close, because the echo
chamber is real resonant. Since the
amplifier isn't real loud, if you put the
mike a foot away from the amp, you're
going to get a sound that really
approaches what you hear in a hockey
rink. Anybody that's working in a studio
and wants to try this, just tell the
engineer to disconnect the speaker cables
in the echo chamber and put a plug [phone
jack] on the end of the echo send, and
plug the echo send into your Pignose.
Then you can sit in the control room,
plug your guitar directly into the board,
send it to the echo chamber on the echo
send, and hear yourself coming back --
and it sounds like you're in a hockey
rink. You can even make it feed back by
long distance. I've been using a Pignose
for about the last three or four years. I
think I started using it the most on Apostrophe,
but there is some on Over-Nite
Sensation, too.
Do
you feel more comfortable playing in a
live situation as opposed to the studio?
Yes. I
mean, I have had a few laughs in the
studio, but the problem is that in a
studio I'm my own producer, and I've got
so many other electronic things to worry
about that it distracts me from just
getting in there and playing the
instrument. You can go out on the road,
and once the house light go down, and the
red light comes on, it's a different
story. I usually play my best stuff on
the road.
Are
your solos on record improvised first
takes, or are they conceived beforehand?
It
depends on what the song is; very rarely
are they first take things. But they
aren't things where I'd sit down and work
out the whole solo in advance before I
played it. I can't do that, I can't
remember it. Usually what I do if I get
something going, I'll lay down 20 bars or
so, and stop the tape, back it up, and
punch in, and take up where I left off. I
try to have the event that's going on the
record make musical sense and fit in with
what's going on; because a record is a
fixed object; it doesn't change. It's not
a song anymore, it's an object. If you're
playing a song on the road, it can change
every night. It can be something, it
comes alive each time you play it, and it
has it's own existence. But once you've
committed it to wax, it never changes. So
if you're going to leave your guitar solo
on, you're stuck with that for the life
of the record. I'm fairly fussy about it,
but I'm sure I let a few go out on record
that I could probably do better now. But
I hope that's the way it's always going
to be.
Have
there been songs in the past that you've
written specifically as guitar vehicles?
Not
really, no. There are a few now that I've
designed that way. I figure that since
I've been playing for about 20 years or
so, I might as well start doing that.
What
scales do you work from?
My
solos are speech-influenced,
rhythmically; and harmonically they're
either pentatonic or poly-scale oriented.
And there's the Mixolydian mode, which I
also use a lot.
You
don't really play a lot of blues licks in
your solos.
I can,
I have. I started off that way. But I'm
more interested in melodic things. I
think the biggest challenge when you go
to play a solo is trying to invent a
melody on the spot. I also think that a
guitar player can only be as good as the
band that is accompanying him. If the
people backing you up are sensitive to
what you're playing, you'll sound great;
if they're just note-mashers, then you'll
always sound mundane.
Are
those the qualities you look for in a
backing musician?
I've
always had good rhythm section players,
but I wouldn't say that they've always
been too enthusiastic about what I was
playing, or understood it very well, or
really got into it. Because if a person's
from the jazz world, they're going to
play worlds of knat-notes, clouds of
pentatonic knat-notes that really don't
amount to shit. Or if they're from the
blues world they want somebody who gets
on three notes and goes
squirm-squirm-squirm. It's hard to
explain to guys just coming into the
band, the rhythmic concept I have about
playing, because it's based on ideas of
metrical balance -- long, sustained
events verses groupettoes that are
happening with a lot of notes on one
beat. Like a lot of sextuplets,
septuplets, and things like that. A lot
of times I'll play 13 notes over a half
note and try to space it evenly so it
flows. This is sort of against the grain
of rock and roll, which likes to have
everything in exactly duple or triple,
straight up and down, so you can
constantly tap your foot to it. But I
prefer to have the rhythm section be
aware of where the basic pulse of the
time is and create a foundation that
won't move, so I can flow over the top of
it. It's hard to do, it's hard to get
people to do that. And it's also hard to
get them to leave some space for where
the fast notes occur. Rhythm sections
always have a tendency to copy: If they
hear somebody else playing fast notes,
they want to play fast notes too, and
then you can't hear any fast notes
anymore. I've always had good rhythmic
rapport with Aynsley Dunbar -- I thought
he was really good, drum-wise. And Terry
Bozzio, the drummer in the group now, is
excellent. He has a tendency to frenzy
out a little bit, but I just figure
that's because he's from San Francisco.
What
about playing with [bass guitarist] Jack
Bruce on the Apostrophe?
Well,
that was just a jam thing that happened
because he was a friend of [drummer] Jim
Gordon. I found it very difficult to play
with him; he's too busy. He doesn't
really want to play the bass in terms of
root functions; I think he has other
things on his mind. But that's the way
jam sessions go. On that solo on Apostrophe
I'm using an SG with a Barcus-Berry on
the bridge and that's being sent to one
of the channels, then the other side is
coming out of a Pignose. And there's an
attack differential between how fast the
Barcus-Berry speaks and how fast the
Pignose speaks. So you've go a sharp
attack on side and the rest of the note
following it on the other. And on
"Stink-Foot" [Apostrophe]
there's an interesting sound where I'm
using an acoustic guitar with a magnetic
pickup on it and a Barcus-Berry on the
bridge. The Barcus-Berry is going into
one channel and the magnetic pickup is
going to a Mu-tron and the other channel,
so you have a sharp attack and an
envelope attack. It gives a lot of space.
You
don't play a lot of acoustic guitar.
No, but
I like it. Since most of my life is
oriented toward the road, rather than the
studio, there's not much opportunity to
play sensitively on your acoustic guitar
except in a hotel room. The rest of what
we do is high-volume stuff. I have a real
nice Martin -- I don't know what the
model number is, but it has a
classical-width neck that joins the body
right at the 12th fret, in a
jumbo shell. I also have an Ovation and a
bouzouki with a Barcus on it. I've
recorded some stuff with that, but it
hasn't been released yet; I have some
duets I did with [violinist] Jean-Luc
Ponty that turned out real nice. I also
have a Gibson round-hole acoustic with a
pickup right next to the fingerboard -- I
don't know what model number it is
either. I like that guitar, it's got a
good neck on it. I just lucked out,
because I don't think all the necks are
good on Gibsons. In fact, they're usually
a little too pudgy for my hand; I like to
get them shaved down.
Since
you've used both Fender and Gibson
guitars, do you have any preference for
one over the other?
I use
them for things that they're good for.
The Strat has dryer sound -- it has more
of an acute, exact sound -- and I use the
Gibson for more of a sweat-hog type
sound.
Is
there any reason why you don't often work
with other guitarists?
Well, I
have. But double leads just never seemed
appropriate for what I was doing. Sneaky
Pete [Kleinow, pedal steel] was in the
band for awhile, but he couldn't stay; he
had too many other appointments.
Do
you ever play slide guitar?
No, but
I do have a fretless guitar, and I'm
pretty good on that. At one time Acoustic
manufactured a fretless guitar, they made
a prototype and tried to interest people
in it, but nobody wanted it. So the
prototype ended up a Guitar Center. I
walked in there one day and asked them if
they had anything new, and they said,
"Have we got one for you!" And
they brought out this thing, and it was
really neat, so I bought it for $75. The
only restriction was they had to take a
chisel and some black paint and scratch
off the word "Acoustic" on the
headpiece, because Acoustic didn't want
anybody to know that they had made such a
grievous error as to make a fretless
guitar. I've put a Barcus-Berry on that,
too, and I send the magnetic pickup to
the left and the Barcus to the right. The
thing that sounds like a slide guitar on
"The Torture Never Stops" is
actually a fretless. It's also on
"San Ber'dino" and "Can't
Afford No Shoes" [both from One
size Fits All]. It's different than
a regular guitar; you don't push the
strings to bend them, you move them back
and forth like violin-type vibrato, which
is a funny movement to get used to. But
you can play barre chords on it -- it's
fun.
Are
there guitar players you listen to?
There
are a few that I've heard recently who I
think are real good. I like Brian May of
Queen -- I think he's really excellent.
And I always did like Wes Montgonery
until they started smothering him with
violins. I think his best album is one on
Fantasy that just has him and his
brothers playing "lover Man"
and "Monterey Blue" {The
Montgonery Brothers, Fantasy]. I
like Johnny Guitar Watson records from
the early '50's; they're really good. And
I especially like Guitar Slim. His solo
on "The Story of My Life" [The
Things That I Used To Do, Specialty]
is one of the best early distorted guitar
solos; it really sounds like he's mad at
somebody.
What
about the contemporary heavies, like Jeff
Beck or John McLaughlin?
I like
Jeff, yeah. I've listened to Wired
[Epic], and there are a couple of solos
on there that I like. And I like some of
his stuff on Rough and Ready
{Epic}. A person would be a moron not to
appreciate McLaughlin's technique. The
guy has certainly found out how to
operate a guitar as if it were a machine
gun. But I'm not always enthusiastic
about the lines I hear or the ways in
which they're used. I don't think you can
fault him, though, for the amount of time
and effort it must have taken to play an
instrument that fast. I think anybody who
can play that fast is just wonderful. And
I'm sure 90% of teenage America would
agree, since the whole trend in the
business has been "faster is
better."
You're
pretty fast yourself.
Well,
I'm not really a fast guitar player,
because I'm not picking everything I
play. I only play fast when I think I
think it's appropriate to the line I'm
doing.
How
do you see your role as a guitarist as
different from that of a Beck or a
McLaughlin?
I think
that's a matter of advertising more than
anything else. Once I get out onstage and
turn my guitar on, it's a special thing
to me -- I love doing it. But I approach
it more as a composer who happens to be
able to operate an instrument called a
guitar, rather than "Frank Zappa,
Rock and Roll Guitar Hero."
How
does your playing differ in your current
four-piece band as opposed to the larger
orchestrated groups you've worked with in
the past?
It
differs quite a bit, because with a
larger group you have to play less --
there are a lot of people waiting in line
to play solos. That's one of the reasons
I've got a smaller group now, because I
happen to like to play solos, and I
happen to think I'm in a specialized
category from the stuff I play, and I
don't think there's any reason why I
should have to wait in line [laughs].
I have some stuff to say, and I'm going
to get out there and do it.
Have
you ever thought of using another
producer, to allow yourself more time
with the guitar?
I would
if I thought I could find somebody who
would produce things the way I want to
hear them. But the details that I worry
about when I go into a studio are how the
board is laid out, what EQ is going to be
on the stuff you're listening to in the
headphones, what kind of echo you're
going to be using, how log you should be
taking to do such-an-such a thing because
at $150 an hour you don't want to be
wasting your time in there. It's hard
once you've got all that stuff set up to
just walk in and play and forget about
it. I'll spend anywhere from three to
nine hours just getting the sound on the
rest of the band right before I'll
record. On this new album [Zoot
Allures] it's different, because I
did a lot of tracks just starting with a
Rhythm Ace and building all the stuff up
from there. What I usually do is, play
the guitar from the control board while
the band is playing, or else have the
band lay down a track and then put mine
on later.
Are
there songs where you've recorded more
than just a rhythm and lead track?
Yes,
"Po-Jama People" [One Size
Fits All], and there are a couple on
the new album that have anywhere from
three to five guitar parts. "Filthy
Habits" [Zoot Allures] has
five guitar parts; and then there were
also a few multiple-guitar-part things on
We're Only in It for the Money
and Uncle Meat.
You've
been playing for two decades now. What
else do you plan to do with the guitar?
The
hardest thing for me to do is play
straight up and down, absolutely the
hardest to do. Stuff that everybody else
does naturally just seems as impossible
as shit to me. I don't think in little
groups of twos and fours and stuff --
they just don't come out that way. I can
sit around and play fives and sevens all
day long with no sweat. But the minute
I've got to go do-do-do-do, do-do-do-do
it feels weird, it's like wearing tight
shoes. So I'm going to keep practicing.
It's like learning how to speak English
if you've been speaking something else
all the time. It's like trying to develop a
convincing English accent.
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