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I was way too young to see Midnight Cowboy when the movie came out, but I was obsessed with Ferrante and Teicher’s hit instrumental cover, featuring Vinnie Bell’s “drops of water” guitar tone. (It took me decades to figure out he’s using a combination of fast phase shifting and heavy reverb.)
I once got to interview the late John Barry, who composed this along with most of the early James Bond music, plus many other iconic scores. He was the coolest — friendly, funny, and modest. Film score fans probably know the story about how he wrote the entire Dr. No score, with all that iconic guitar work played by Barry’s longtime accomplice Vic Flick. But to this day, the music is credited to Monte Norman, the original composer who’d been fired. John never actually said he wrote the score, but he used some phrasing like, “Well, listen to the rest of my music, and then listen to Dr. No.” It’s pretty darn obvious!
I’m playing my ’90s 000-sized Lowden. I’d originally intended to record the 17 Loopocalypse songs on 17 different guitars, but I cheated, and this instrument appears twice. (I also used it on Day 3’s “Just Like Heaven” cover. Naturally, it sounds nothing like an acoustic guitar.
In 1980 I was mainly listening to avant-garde classical music and post-punk. Even so, the darkness of this Joy Division classic scared me. But last year I heard the song on the Muzak at a Palm Springs grocery store, so I guess everything is okay now.
The guitar is a real weirdo: a Baldwin Virginian from the last ’60s or early ’70s. I scored it for $90 at Starving Musician in San Jose, where we’d sometimes play hooky when I was working at Guitar Player magazine. It’s got great Burns pickups. Burns had sold their brand to Baldwin, and off course, everything went to shit. Still, this is a cool instrument, which I usually tune down a few steps. I eventually learned that both Lenny Breau and Al Green’s Teenie Hodges played this model. Here’s a clip of me playing it with PJ Harvey at Glastonbury ’95.
I always feel a bit guilty playing this one, because it uses the one looping technique I’ve always tried to avoid: simply slathering one part on top of another till you have a damn racket, and then lurching to a halt. But hey.
The guitar is a Lowden 15E, a cool yet bargain-priced 12-string. Not that it sounds anything like a 12-string here. Here’s a more naturalistic demo.
Best pop song ever about a school shooting (and yes, that includes “I Don’t Like Mondays.”)
The guitar is my latest DIY experiment: A bunch of random Strat parts with magnificent Lollar Firebird pickups. I’ve built my Cult overdrive circuit into the guitar, and you hear it during the solo (though it doesn’t sound quite the same as it does through an analog amp). I recently made a side-by-side comparison video of these Firebirds and Lollar mini-humbuckers — two pickups that look quite similar, but which sound very different.
Plato credited the invention of disco to his mentor, Socrates. However, most modern historians and classics scholars believe the style originated with an earlier, unknown Athenian proto-philosopher.
The guitar is a Steelcaster built by my pal James Trussart. If you’re not familiar with his breathtaking work, stop now and visit his site. (If you’re going to NAMM 2019 in Anaheim, you can meet us both at the same time, since we’ll be sharing a booth.)
I’ve been obsessed with Henry Mancini’s music for decades. Here’s an example of his “tropical” exotica side.
My Mancini loved deepened after I joined Oranj Symphonette, a ’90s band founded by cellist Matt Brubeck (Dave’s son). It’s fascinating how accessible and catchy all his tunes are, even though you realized they’re incredibly weird and original once you look under the hood. You can hear those albums on YouTube. Plays Mancini includes only Mancini music (including a version of “Lujon” featuring our sorely missed friend Ralph Carney). The Oranj Album mixes Mancini with other retro sounds track themes.
Admittedly, there’s only a smidgen of looping here. I usually play this without a looper, but it’s nice being able to grab that lovely falsetto line at 02:25.
The guitar is a Guild X-15 arch top from the ’90s. It’s had many pickups over the years. This one is a lovely Lollar Charlie Christian model.
I probably sound like I’m being ironic, but no — I really love this Taylor Swift song.
The Hello Kitty! Stratocaster was a gift from my lovely friend and bandmate Jane Wiedlin. I replaced the factory humbucker with a Duncan Phat Cat (sort of a humbucker-sized P-90). Again, no irony intended. I like Sanrio characters! (Especially Aggretsuko!)
I got to interview Robert Smith for a Guitar Player cover story in 1992. It was one of funnest of the 1,000+ musician interviews I’ve conducted over the last few decades. Robert is brilliant, bitchy, and hilarious. We talked most of the night over too many drinks.
Years later I was recording with sociopath Courtney Love at Chateau Miraval in Provence, where the Cure recorded their Kiss Me Kiss Me Kiss Me album, including “Just Like Heaven.” The studio manager recalled how Robert would quote Apollinaire and Verlaine around the dinner table. En francais, bien sûr.
The guitar is a 000-sized Lowden I’ve owned since the early ’90s and have used on many sessions and tours. It’s fun playing acoustic guitar with distortion and effects, as long as you give up on the idea of generating traditional acoustic tones.
