Fullmoon 1971
Werewolf, there wolf, there castle
As some of you know I got a new SE Chris Robertson and was blown away by it some much so I decided to do the gig we had lined up tonight with it.
So we've just got back from the gig. How did the guitar stand up in a live context?
First a little background on the bunch of misfits I call a band, we are a 6 piece oufit that have been together for 32 years (edit the singers a new boy, he's only been around for 30 years) we were lucky enough to release 3 albums (89, 91 & 93) and toured all over the world. We were dropped by our label during the grunge backlash of the early 90's which actually worked better for us as we all have careers and now families outside the band (the bass guitarist & the keyboard player teach Violin & piano respectively at the Royal Northern College of Music) The rest of us have fairly normal day jobs. We still tour quite a lot and do a fair bit of session work with bands we became friends with in our early lives. I give this explanation to explain last nights setlist - over the last 20 years we have become the house band for a local rockers pub, we will turn up & rock out if the pubs got no others acts that night, usually it's the tried and trusted rock & blues standards from the last 65 years.
This leads me to last nights gig, as we getting my gear into the van I decided we would have a little fun with the crowd and cover stuff that only gets done for our own asmusement when rehearsing (after so long together we have to do different practice pieces) with this in mind I changed my gear selection. The CR would be the main guitar backed up by my SE Bernie & Gibson 50's tribute SG. My amps would be changed to my Fender Hotrod Deluxe III and my Epiphone 1939 Century reissue.
What can I say the guitar held it own all night, the Bernie didn't get used at all & the SG only got used on a few drop tuned songs. Every tone I needed was within reach using the CR, she was perfect and so stable that I barely needed to retune at all. we do two 1 1/2 hour sets with 30 mins between them and during that time I was constantly answering peoples questions about the guitar and its sounds and what mods I'd had to do to it, I told them they'd get their answers at the end of the night, so the gig ends and I address the crowd and explain that it was only a few hours old with no mods at all (my other guitarist was really pissed at me
) I don't think I ever seen so many people on smart phones all at once trying to find a store that had these in stock.
Unusual song highlights from both sets - testing the full range of sounds
Caravan = Django Rheinhart, (century amp & bass guitarist on violin) this was the first of 2 versions we did - sound with with vol & tone knocked back was real close.
Caravan #2 = Chester & Lester version, (you can get some real good Jazzy sounds out of this guitar)
Guitar Boogie = Les Paul Trio (you really can nail les's sound) using P90 with tone rolled back
Play Mistral Play = Blackmore's Night, A chance to dual with the bass guitarist / violin player on this Rock/Classical piece
Folsom Prison Blues = Angel Mary & the Tennessee Werewolves (A little of country, hard rock & metal all in one)
Steve Clark Memorial = a tune a comprised using parts from his studio & live performances (tone was glorious) I don't usually take solo's but this is staying in the set say the band
Gimme Shelter = Johnny Winter instrumental (first time we've ever played it fully through, the guitar got johnny's tone beautifully)
Aqualung - Jethro Tull
Hocus Pocus = Focus (last song of the evening) Really rocked this thing to make it go out of tune - It didn't
So we've just got back from the gig. How did the guitar stand up in a live context?
First a little background on the bunch of misfits I call a band, we are a 6 piece oufit that have been together for 32 years (edit the singers a new boy, he's only been around for 30 years) we were lucky enough to release 3 albums (89, 91 & 93) and toured all over the world. We were dropped by our label during the grunge backlash of the early 90's which actually worked better for us as we all have careers and now families outside the band (the bass guitarist & the keyboard player teach Violin & piano respectively at the Royal Northern College of Music) The rest of us have fairly normal day jobs. We still tour quite a lot and do a fair bit of session work with bands we became friends with in our early lives. I give this explanation to explain last nights setlist - over the last 20 years we have become the house band for a local rockers pub, we will turn up & rock out if the pubs got no others acts that night, usually it's the tried and trusted rock & blues standards from the last 65 years.
This leads me to last nights gig, as we getting my gear into the van I decided we would have a little fun with the crowd and cover stuff that only gets done for our own asmusement when rehearsing (after so long together we have to do different practice pieces) with this in mind I changed my gear selection. The CR would be the main guitar backed up by my SE Bernie & Gibson 50's tribute SG. My amps would be changed to my Fender Hotrod Deluxe III and my Epiphone 1939 Century reissue.
What can I say the guitar held it own all night, the Bernie didn't get used at all & the SG only got used on a few drop tuned songs. Every tone I needed was within reach using the CR, she was perfect and so stable that I barely needed to retune at all. we do two 1 1/2 hour sets with 30 mins between them and during that time I was constantly answering peoples questions about the guitar and its sounds and what mods I'd had to do to it, I told them they'd get their answers at the end of the night, so the gig ends and I address the crowd and explain that it was only a few hours old with no mods at all (my other guitarist was really pissed at me
Unusual song highlights from both sets - testing the full range of sounds
Caravan = Django Rheinhart, (century amp & bass guitarist on violin) this was the first of 2 versions we did - sound with with vol & tone knocked back was real close.
Caravan #2 = Chester & Lester version, (you can get some real good Jazzy sounds out of this guitar)
Guitar Boogie = Les Paul Trio (you really can nail les's sound) using P90 with tone rolled back
Play Mistral Play = Blackmore's Night, A chance to dual with the bass guitarist / violin player on this Rock/Classical piece
Folsom Prison Blues = Angel Mary & the Tennessee Werewolves (A little of country, hard rock & metal all in one)
Steve Clark Memorial = a tune a comprised using parts from his studio & live performances (tone was glorious) I don't usually take solo's but this is staying in the set say the band
Gimme Shelter = Johnny Winter instrumental (first time we've ever played it fully through, the guitar got johnny's tone beautifully)
Aqualung - Jethro Tull
Hocus Pocus = Focus (last song of the evening) Really rocked this thing to make it go out of tune - It didn't
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