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[img]http://www.freakscene.net/ubb/smilies/bob.gif[/img]
Can’t I Take This
Ammaring (the whole new album just rocks..)
the Just Like Heaven cover
Out There
Turnip Farm
Over your shoulder
Water
Goin’ Home
Severed Lips
Kracked
Alone
The Lung
Blowin’ It/I Live… (or Blowin’ Me as the set-list often has it as)
Little Fury Things
No Bones
Raisins
Grab It
Tarpit
Quest
In a jar
Freak Scene
Keblin
Not You Again (I think my anthem cauze I seem to fuck everything up)
How’d You Pin That One On Me
Whatever’s cool with me
Wagon
Start Choppin
I’m InsaneThese are in no specific order and you did not cap the amount of favs you wanted a number so the list grew a bit [img]http://www.freakscene.net/ubb/smilies/face-icon-small-smile.gif[/img] although I still left some off
jeremiah [img]http://www.freakscene.net/ubb/smilies/stitch.gif[/img]
[This message has been edited by jeremiah (edited September 29, 2000).]
<BLOCKQUOTE><font>quote:</font><HR>Originally posted by hager:
<snip>1. Has anyone actually compared the vintage EH effects with the newer (easier to find and cheaper) reissues?
2. Am I wrong in assuming all Fenders are, like my father’s, wide-necked? I like as narrow a neck as possible.THANKS! Listening to Turnip Farm right now…YOW!!!
<HR></BLOCKQUOTE>
Can’t answer question #1. But, i’ve found Fenders (strats) difficult to play after playing a Gibson. not only does the neck seem different, but the fretboard doesn’t seem as flat. strats almost feel like they’ve got a concave neck (to me). but, you’ll get used to it. its almost kind of fun to have to fight with it to play what you could play very easily on a gibson/epiphone neck.
Keith
This is from the main Freakscene web page, upper left corner. [img]http://www.freakscene.net/ubb/smilies/face-icon-small-smile.gif[/img]
Track Listing :
Same Day
Waistin
Where’d You Go
Back Before You Go
Ground Me To You
Ammaring
All The Girls
I’m Not Fine
Can’t I Take This
Does The Kiss Fit
More Light
Chris"People want to know why…I write such gross stuff. I like to tell them I have the heart of a small boy — and I keep it in a jar on my desk." <-Stephen King
F&*K YES, BABY! It’s in the playing, not the gear. NICE GEAR IS A NICETY.
Chris"People want to know why…I write such gross stuff. I like to tell them I have the heart of a small boy — and I keep it in a jar on my desk." <-Stephen King
It’s been a few days since I’ve checked this message board, and I can’t believe what an interesting, incredibly lively and opinionated discussion a simple question about gear/tone has generated. Put a bunch of guitar geeks in a room together (albeit a virtual one), and watch the fireworks. I love it.
With all the back n’ forth between vintage vs. affordable, Epiphone vs. Gibson, American vs. Mexican, processors vs. the Muff, Boogie vs. Marshall, let’s review a bit of history. When J bought his first guitar back in the early 80s, he ventured into Slimey Bob’s Ripoff Guitar Shop intent on buying a Strat. As the story goes, Bob wanted about $500 for a Strat and that was out of J’s price range at the time. So, Slimey Bob showed him this old ’65 Jazzmaster (incidentally, the Jazzmaster had been discontinued in 1980, I believe, because Fender couldn’t give them away…). If I remember correctly, J paid about 300 bucks for it and settled on it because he loved the feel of the worn-down neck. Of course, that Jazzmaster became the lengendary sticker-covered axe that J has played thoughout most of his career. So much for Strat…to this day, I’ve never seen him play one.
But here’s the point I’m trying to make with this story: When J, Sonic Youth, and other indie bands of the early/mid-80s began playing Jazzmasters and Jaguars, they probably began playing them because (1) they liked the sound and (2) they were relatively inexpensive at the time. If these were sought-after guitars (like the Strat, Tele, and Les Paul), Fender would’ve never stopped making them. As these old axes began to symbolize "indie guitar rock," suddenly everyone seemed to be playing them, from Kurt Cobain (his beloved Jaguar) to My Bloody Valentine. Suddenly, supply and demand kicks up the prices as we see our guitar heroes weilding these cool-looking, slightly strange looking guitars and want one. Realizing this, Fender quickly begins reissuing the Jazzmasters, Jaguars, even the crappy Mustang, and takes it one step further when they create the horrid "Jag-Stang" for Cobain. And suddenly the joke’s on us.
So…what if J had walked out of Slimey Bob’s with that Strat he wanted, or even, God forbit, an old Japanese Strat. He’d still be right where he is today, being talked about and dissected by fans like you and me on a website devoted to him. Because he’s got what no expensive vintage equipment can provide: talent, soul, and despite the stories you hear about his legendary lethargy, the drive, ambition, and work ethic needed to maintain a career in music for over 15 years. So if you really want to emulate J, forget about trying to replicate his "sound" and go out and pick up a 1985 day-glo B.C. Rich for 150 bucks, focus on writing good SONGS, and start your own indie rock revolution.
Kracked Lung"Hey what’s buggin’ down under there…
Why’s it screaming, what’s unfair?"I admit defeat. I will be sticking with my Epiphone for a few years at least, but I have been scouring the web tonight looking for vintage EH effects. eBay is crawling with tons of J’s gear (at least the stuff he showcased in Max Guitar magazine in July 97.)
vintage big muff pi’s, memory man, poly chorus, elctric mistress, and the clone theory. Guess I’ll start picking up a few things here and there, it’s not as expensive as I thought. As for the Epi, maybe some new pickups are warranted eventually, but the things plays solid and has ultra-smooth action, so I can hang on to it.
Can anyone respond to two questions I have?
1. Has anyone actually compared the vintage EH effects with the newer (easier to find and cheaper) reissues?
2. Am I wrong in assuming all Fenders are, like my father’s, wide-necked? I like as narrow a neck as possible.THANKS! Listening to Turnip Farm right now…YOW!!!
Chris"People want to know why…I write such gross stuff. I like to tell them I have the heart of a small boy — and I keep it in a jar on my desk." <-Stephen King
Thank you thats very helpful… actually this guitar store I went to after I posted showed me a Deluxe Nashville Tele with a Tex-Mex strat sandwhiched in between two tex-mex tele pickups… I don’t know.. I played it and it sounded wonderful. I guess I’ll have to keep on playing more and trying out more. I can get this for 429…. which isn’t a bad price at all.
Also… I have a big muff, small stone phaser, a hendrix fuzzwah, and dod delay pedal…. don’t you think I should get a compression/sustain pedal? Will it be noticable enough to warrent buying? Oh.. another thing… the options as far as wah are very limited on the one I have now. What wah pedals do you recommend? There are many that say the digitech whammy pedal is great… but i dunno.
Also… I have a fender cab.. is there a huge difference between regular and celestion speakers? The guitar salesman said theres a world of difference. Thank you..
Keith, I agree with you that Lou was an integral part of the band – that is, on "Dinosaur". It seems like soon after that J and Lou were both going their own way. And besides their personal differences (I once read that J said "Lou was a silent guy, then he started talking and I found out I didn’t like him.") that may have been the main reason J kicked Lou out, because Lou was more interested in doing his own thing. And Lou was probably right in that, I don’t mean to take sides here.
Strong analysis, Kracked Lung. I think I would pick "honest" as the first word to describe much of Lou’s work. He often seems to be struggling with the concept of honesty. ("Love is stronger than the truth", "I hesitate to say that you’re a liar, I never tell the truth myself", "Cuz if I honestly react, nothing’s ever gonna work".)
But I do think that J’s songs are also very honest and pure, and often very specific. Think of "Drawerings", for example. "Did you know I heared your voice? When I called to see if you’re around I had no choice." A very clear description of the situation – all we miss is the girl’s name. And still, it seems to me that the feeling it expresses is quite universal, and that’s an important reason for me to love J’s lyrics.Jasper
"The chief problem about death, incidentally, is the fear that there may be no afterlife – a depressing thought, particularly for those who have bothered to shave. Also, there is the fear that there is an afterlife but no one will know where it’s being held."– Woody Allen
[This message has been edited by jasper (edited September 28, 2000).]
Keith, I agree with you that Lou was an integral part of the band – that is, on "Dinosaur". It seems like soon after that J and Lou were both going their own way. And besides their personal differences (I once read that J said "Lou was a silent guy, then he started talking and I found out I didn’t like him.") that may have been the main reason J kicked Lou out, because Lou was more interested in doing his own thing. And Lou was probably right in that, I don’t mean to take sides here.
Strong analysis, Kracked Lung. I think I would pick "honest" as the first word to describe much of Lou’s work. He often seems to be struggling with the concept of honesty. ("Love is stronger than the truth", "I hesitate to say that you’re a liar, I never tell the truth myself", "Cuz if I honestly react, nothing’s ever gonna work".)
But I do think that J’s songs are also very honest and pure, and often very specific. Think of "Drawerings", for example. "Did you know I heared your voice? When I called to see if you’re around I had no choice." A very clear description of the situation – all we miss is the girl’s name. And still, it seems to me that the feeling it expresses is quite universal, and that’s an important reason for me to love J’s lyrics.Jasper
"The chief problem about death, incidentally, is the fear that there may be no afterlife – a depressing thought, particularly for those who have bothered to shave. Also, there is the fear that there is an afterlife but no one will know where it’s being held."– Woody Allen
[This message has been edited by jasper (edited September 28, 2000).]
ok Mr. Dodgeball. so your’re looking for a trusty guitar, but still sounds kinda indie rock. and for no more then 600$, and you want to keep with the single coils?
hmm…the main difference between strats and teles is obviously the the body shape. This might sound too simple, but seriously, pick up each one and feel which shape you like. after that is the sound. the strat will sound more airy, cool, california where as the tele will sound more southern, tom petty, good rhythm sound. they have similar bridge p/u sounds, but the neck pickup on a tele is way more full, bassy almost muddy…where as strats have that middle pickup which is balances out everything, and makes the sound more mid-rangey. Steve Malkmus is a strat man. But thurston more used to be seen playing a tele copy (around the time of dirty)You should never listen to guys who work at guitar stores..and try to buy on-line..because its cheaper. even if you have to figure out what you want at the store first. ebay has way better prices, and way more options.
analog delay is different then boss delay, in that it is shorter, and earthier sounding. it adds a slight echo onto everything, which digital can do to, but digital sound a little more robotic and glitchy, a slight analog delay when boosted can almost be a new type of distortion in the signal, which is why multiple analog delay is great. Digital delay is best for long swirling delays, where everything repeats back onto itself.
you don’t need a compressor pedal unless you already have three other pedals. remember that. the compressor should be your 4th pedal purchased. because you’ll only start to hear what it’s doing if you put it before an overdrive, and wah.
these are my assesments.
as far as after market pickups go…you seymour duncan are very nice, look at the tone chart on their webpage…lace sensors are nice too, but I think you might want a hotter single coil for sonic youth/pavement type stuff.
have fun.
//////////Tt.Ahhh…the long-standing J vs. Lou debate. In my humble opinion, both are immensely talented musicians and songwriters…with very drastically different visions. It’s really amazing to think that so much talent was packed into a power trio. Reminds me quite a bit of the Uncle Tupelo situation. Two great songwriters struggling, competing even, against each other to fulfill their particular vision. But I think the essential difference between the two is that, in the case of early Dinosaur, it was J’s vision for the most part, and he managed to convince both Lou and Murph to buy into it, at least for a time. With Uncle Tupelo, it always seemed like the sides were more evenly represented.
I’ve always thought that one of the most compelling characteristics of Lou’s songwriting is his willingness to put everything right on the table. He doesn’t seem to hold much back (at least in the earlier stuff) and his songs seem to be much more…this isn’t the ideal word, but it’ll have to do…’specific’ and, at times, very honest and poetic. You’d never hear J write lyrics like those in "Homemade," "Brand New Love," or "Soul and Fire." J’s lyrics, on the other hand, have always seemed to be somewhat more vague, open to different interpretations, as if he’s unwilling to reveal too much. I still love ’em, but I think it was best for J and Lou to part ways so that we now have both revered canons of Dinosaur and Sebadoh. Very different, but both brilliant. And as for a reunion, forget about it.
Kracked LungAhhh…the long-standing J vs. Lou debate. In my humble opinion, both are immensely talented musicians and songwriters…with very drastically different visions. It’s really amazing to think that so much talent was packed into a power trio. Reminds me quite a bit of the Uncle Tupelo situation. Two great songwriters struggling, competing even, against each other to fulfill their particular vision. But I think the essential difference between the two is that, in the case of early Dinosaur, it was J’s vision for the most part, and he managed to convince both Lou and Murph to buy into it, at least for a time. With Uncle Tupelo, it always seemed like the sides were more evenly represented.
I’ve always thought that one of the most compelling characteristics of Lou’s songwriting is his willingness to put everything right on the table. He doesn’t seem to hold much back (at least in the earlier stuff) and his songs seem to be much more…this isn’t the ideal word, but it’ll have to do…’specific’ and, at times, very honest and poetic. You’d never hear J write lyrics like those in "Homemade," "Brand New Love," or "Soul and Fire." J’s lyrics, on the other hand, have always seemed to be somewhat more vague, open to different interpretations, as if he’s unwilling to reveal too much. I still love ’em, but I think it was best for J and Lou to part ways so that we now have both revered canons of Dinosaur and Sebadoh. Very different, but both brilliant. And as for a reunion, forget about it.
Kracked LungOk… here’s the original guy.. heres the status. I’ve been researching lately and managed to go to various shops trying to find just the right guitar. I’m still as confused as ever…. Whats the real difference between a tele and a strat? If I wanted better pickups couldn’t I just put new ones in the mex strat I have? If I did what type of pickups? Musician friend has fender Lace sensors…. Look… I’ve gotten to be a decent guitar player… but I never picked up on the gear side of things. I don’t want to spend more then 600 bucks to go to the next step. I love j’s sound… but pavement and sonic youth’s sound too. I try to incorporate a lot in the way of lead guitar into my songs and I really want that to stand out when I’m playing live or recording. I want the lead to be very distinctive(with alot of sustain and high end)…. but on rhythm I want to be able to have a nice sound as well. Help me out guys… the last salesman was trying to get me to buy a peavey guitar w/ two humbuckers. I’m straying away from humbuckers. Oh by the way… I HATE DOD effects… specifically multi effect pedals. I’ve had a couple before I realized that analog is the way to go. Oh.. which is better the memory man or the boss D-5 delay pedal? Would a compression/sustain pedal help me?
Cool. Man, nobody lusts after the good stuff more than I do! [img]http://www.freakscene.net/ubb/smilies/furiousgeorge.gif[/img]
Chris"People want to know why…I write such gross stuff. I like to tell them I have the heart of a small boy — and I keep it in a jar on my desk." <-Stephen King
keith…I just graduated college, where i was in two bands, and moved to NYC in july. My ‘rock’ band has been seperated by graduation and people going seperate ways. But I do have a place to play in brooklyn. I have been doing the noise thing there with some friends. I don’t have any gigs in yet, as I usualy play for fun, in improved jam sessions. But I plan to do some more recording, and send some tapes out, once a steady NYC line up is in place.
//////////Tt.
