When you don’t use a pedalboard anymore and want to bump the reverb so you can quote Green Onions… On the 11 year (to the day!) anniversary of @tomarandthefcs first gig, felt like taking it back to our roots as a band. Thanks again to @hectorwardmusica for having us out to Blackfinger again this year!
I’m not one to put much stock into gear, usually, but this guitar is perhaps the most important instrument I have. 1967 Epiphone Riviera, and of course it plays great and sounds like a dream. But it was also my dad’s. Still is, really… I’m just holding onto it. He can’t play much anymore, and when he found out that I was shopping around for one like it, he gave his to me. It’s been my number one ever since. More than how it sounds (amazing) or how it plays (like buttah), it’s the fact that I get to play the same instrument that my first ever guitar hero played. Nothing will ever compare.
A couple years ago, Candi came to me with an original gospel song that she wanted to record. Naturally, I brought in the FCs to fill out the band and something truly magical happened. Recorded live in my studio, with a few choice overdubs, mostly notably: 8 members of the Sanders family on vocals! I am beyond excited to release it this Friday 12/19! It would certainly mean a lot to us if you gave it a listen! Artwork by @lindachidoartist #gospel #soul
Workin’ in the studio today, thought I’d revisit this one from the inventor of the instrument: Charlie Hunter’s “Fine Corinthian Leather”. Obviously more limited with the 6 string hybrid vs 8. It’s definitely coming together, though, compared to my first go at it. Still, it seems like such a long road ahead! Better get walking.
Just because something is simple or easy, does not mean that it lacks value. Just because something is complex or difficult doesn’t mean that it is automatically valuable. Celebrated 7 years of sobriety last week, and realizing how that sentiment carries over beyond a musical approach. It’s a good way to approach life, I think. Still working out the hybrid stuff and trying to make sure that what I’m doing is elevated beyond: “omg, two things at the same time?!” It has got to stand on its own as an interesting thing to listen to, regardless of complexity and/or difficulty.
Most of my practice still starts out on an acoustic, checked by a phone recording. There truly is no place to hide. Working out some blues and some hybrid ideas. Keeping a consistent thumb and independent fingers is the hard part. Also, the difference that some reverb can make! Started dry and automated some in halfway through.
The full “percussion” take! Headphones to hear that organ bass. In hindsight, I should have used a different drawbar combo on the lower manual for a better bass sound. I think I still had it set for cissy strut. In any case, this kind of thing is a great way to study the difference that tone can make on a recording (or lack of difference, in some cases!). More and more, I think knowing when it matters and when it doesn’t is one of the most useful skills to have in the studio. Is it worth it to spend a few hours to chase down the right tambourine sound? Maybe. Do I need a dozen tambourines at my disposal? Obviously.
The difference that percussion makes Part 2. The Tambo. I like this one for its dry-ness. The hammered brass jingles keep it more subtle than the usual steel jingles. Already scheming to make a tambo-only video to give a tour of the tambourines currently in my possession, the differences can be surprisingly substantial!
