I
knew when I walked in the Coffee Street Records Studio in Reidland, Kentucky for us to begin recording Palestine
blues, there were not going to be a lot of effects or for that matter
even overdubbing. When we had rehearsed the songs three-piece to work
them up with the rhythm section, the songs already sounded so good, I
decided to go ahead and just stay with the three piece all the way
through the recording. That's just the way the message of the songs came
though the best.
I
did use several guitars to achieve what I wanted to on the songs and to
be honest I don't know if I can remember all of the guitars used! Here
are the ones I remember: A Gresh Brian Setzer Edition, a Paul Reed Smith
30th anniversary, G&L Bluesboy, Fender Blacktop Jaguar, 79 anniversary Strat which want
to belonged to a friend of mine, Forrest Hurd, a Phil Jones/Steve
Uncapher Lower Broadcaster, a custom telecaster which was built for me
by a friend, Brian Campell, and an Eric Clapton Blackie.
As
for the amps, the main one I used was a 1970 fender twin silver face,
although for many of the leads I used an Orange micro dark into a Seismic 2 x
12 or 1 x 12 cabinet. On "Bout Time," for the lead guitar, I used a
Fender Super Champ 2X head into a 2 x 12 cabinet.
Throughout
the entire album, I did not use many FX at all. I think all I used was a
Fulltone OCD and a Boss Tremolo. Any other affects were done
downstream in ProTools.
Really,
the only time I remember trying to stretch for a little bit of an
unusual tone, was on Don't Need No Devil," when I was applying some
techniques which I had seen Daniel Lanois do. I always liked how he got
such ethereal tones.
So that's it. Kept it really simple. Did not want a lot of layering or effects getting in the way of the songs messages. Sometimes, "less is more," and I think it really was on this project. I enjoyed it so much, I think I'll continue keeping things uber simple!
CD Baby: http://cdbaby.com/cd/lewjetton2
