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!