I have been meaning to ask you this question for some time.
During your guitar solo in Get Ready, from the "In Concert" album, would you tell me what you are doing with your guitar to obtain that sound, which I can only describe as soundning like wind and so forth? I know that when I saw you here in Ohio, you were rubbing the neck of the guitar across your amp and getting freaky sounds, but, I don't remember it being this unique of a sound.
I also wanted to point out that I read your list of tunes that you recorded with various artists, and some of them blew me away. The tune by Funkadelic "I'll bet ya" was one of them. I'd have never dreamed in a million years that was you playing guitar. I was so obsessed with that song when it came out, that I took the money I was supposed to use to go to the high school football game on that Friday night, and went right to the record store and bought the 45!
I've wondered the same thing. It sounds as if Ray might've been playing with his teeth too, as well as some sort of effects unit being utilized. ...a homage to Hendrix. And that's cool with me as I'm a Hendrix buff too.
Thanks, Mike, Its good to know someone else is interested in this.
All I know is, it is some extremely interesting sounds. I can hear Ray playing with the "whammy bar" during parts of it.
You aren't going to believe this, but, after I bought that album, I would be mowing the lawn, and that guitar solo would be going through my head to the point that I had to stop right in the middle, run in the house and listen to it. I was obsessed with that solo to the point that if one looked at my copy of the album, that section of the record was white against black from playing it so much. When it reached the point that I was forced to buy a new copy, I couldnt believe how clear everyhting was!
WAAAY BACK IN 1971 THE ONLY WAY TO GET SUSTAIN WAS TO TURN YOUR AMP ON 10,OR GET A FUZZ BOX.I CHOSE THE LATER,AND MY EARS THANK ME. I WAS USING A UNIT CALLED A FENDER BLENDER.IT HAD MORE VARIETY THAN THE STANDARD BOXES,AND IT DIDN'T SOUND LIKE A BUMBLE BEE IN HEAT. DURING THE GET READY SOLO I WOULD TURN THE BOX ALL THE WAY UP WHICH GAVE ME A VERY UNUSUAL SOUND,AND I USED IT IN COMBO WITH THE WAH.KIND OF A GROWLING,SCREAMING,WIND KIND OF SOUND.I ALSO PLAYED WITH MY TEETH AT ONE POINT,BUT NOT LIKE JIMI.I ACTUALLY RAN THE STRINGS OVER MY FRONT TEETH,UP AND DOWN THE NECK,LIKE I WAS PLAYING SLIDE.DON'T TRY THIS AT HOME.LOL. AN ECHOPLEX,AND THE WHAMMY BAR WERE ALL PART OF IT TOO.
IT WAS SOMETHING THAT CHANGED A LITTLE NIGHTLY.THAT'S WHAT WAS FUN ABOUT R.E. THE FREEDOM TO GO WHEREVER YOU WANTED TO.THAT RECORDING CAPTURED A MOMENT IN TIME THAT WAS NEVER HEARD AGAIN IN EXACTLY THE SAME WAY.
STEVE, ON "I BET YOU",THAT'S ME AND EDDIE HAZEL PLAYING.ON "I GOT A THING",IT'S JUST ME.
Thank you *SO* mcuh for explaining this to us. I can't believe that I never asked before, or, maybe I thought I had already,so just never did. I was listening to it the other night at work, over and over and that was sparked me to post my question. Now we all know! All I know is, it is addicting, and I love it! Someone in the band was definitely getting into it because you can hear them yelling throughout parts of it. I remember those days when you had to have a fuzz box to get any sort of sustain and so forth, I remember very well, those little $15.00 "Muff Fuzz" boxes that you plugged into the input jack on the guitar, then plugged your guitar chord into that, and if you really had money, you could afford to buy the box that sat on the floor. Remember those? It's great to know what you used to do, but I'll tell you, it hurt my teeth reading how you played with your teeth!
Thank you also for the info on the Funkadelic tunes. I was crazy about "I got a thing", too, because of the wah-wah and all that drumming in it. I can even tell you where I was when I first heard it. On the school bus! We had the coolest bus driver who would have the radio on CKLW out of Detroit ( can you stand it?!) and on the ay to school, they played it. Of course, I went right out and got that one ! "I'll bet ya" I heard on my sisters radio in her bedroom. Anyway, another bit of info...I took "I got a thing" to school with me one day to play during a class where the teacher would allow us to bring records. I remember-- distinctly( and I think about this all the time) when the song started with the opening wah-wah chords, she started laughing and asked "What is making that sound" then she imitated it with her mouth, and the whole class died. Of course, I took great pleasure in explaining it, lol.
Woops! This: "I remember very well, those little $15.00 "Muff Fuzz" boxes that you plugged into the input jack on the guitar" is supposed to read:
I remember very well, those little $15.00 "Muff Fuzz" boxes that you plugged into the input jack on the **amp** ( not the guitar, although I'm sure you guys knew what I meant
Thank you *SO* mcuh for explaining this to us. I can't believe that I never asked before, or, maybe I thought I had already,so just never did. I was listening to it the other night at work, over and over and that was sparked me to post my question. Now we all know! All I know is, it is addicting, and I love it! Someone in the band was definitely getting into it because you can hear them yelling throughout parts of it.
Steve,
That solo is addicting, as are the ones by John, Mark, Eddie, Gil and Pete's solo towards the end (w/the double kick drums going at full speed!).
Judging from the singing voices of everyone...towards the end of Ray's solo it sounds like Gil screaming and John hollering "yeah!". I always get geared up for the jam portion of this performance right before John's solo when Pete says "get down John".
That song may be over 20 minutes long but I instantly recognise ALL those bits of the song both Steve and Mike refer to.
There's one bit that I always like and its just as Ray is completing his solo before Gil takes over. Pete's keeping a steady beat then puts in a hi hat slur (exactly 16 minutes into the song if you have the CD. I always here that hi hat slur for some reason.
I always wanted to be a drummer from the age of about 6 when my parents took me to a Circus and there was a band in the corner. I was more interested in the drums than the clowns, elephants and trapeze artists. My parents wouldn't entertain the idea of a drum kit in the house and sent me to piano lessons. So I had to settle for piano, then later bass guitar (no regrets)...but I think hi hats are a very expressive part of a drum kit and that is often overlooked by drummers. Agree Steve?
By the way, who shouts "You Gotta Go" towards the end of Pete's drum solo? Is it someone in the audience?
As do I, recognize each part. If I were to enter a contest, and someone told me I had two seconds to name that tune, and they played this, I'd know it off the bat!
I think the reason the hi hat "slur" you mentioned is so impressive to you is because Pete timed it perfectly( of course), as I am sure he planned it that way.
I've listened to the drum solo parts you mentioned, and, I don't hear anyone say " You gotta go", what I do hear is someone yelling " Go, Pete". I wonder if you are confusing the guy yelling " Hey there, brother soul!" with what you hear as "You gotta go", Can you tell me what the digital clock/timer says when playing the CD? like you mentioned the hi hat slur coming at 16:00 ( mine says 16:01).
Yes, you're right Steve, the HH slur clocks in at 16.01 but I thought that might look like I was being too fussy :) All through the song Peter knows exactly when to pick up the beat and when to slacken off a bit. He really compliments what the other solists are doing. Just my opinion.
I think the words "You Gotta Go" are very probably "Get it On". It might be a female voice. Its 2am here so a bit late to dig the CD out, but it occurs towads the end of the percussion solo (maybe Eddie playing timbales?) just before Peter changes the rhythm to lead in the count of 1, 2, 3 to bring in the vocals "Gettin' Ready cos here I come"... to end the song.
That "anonymous" thing catches us all out every now and then...even Ray!! You're in good company!!
I think it was a good idea to have the crowd turned UP in the mix. You can hear they they are getting into the show. So many live albums only have the crowd during the applause. Well, as I don't hear people yelling "sit down" during live albums like I do at concerts, it's all good. But who would've been sitting down at a Rare Earth concert in 1971?
Well, as I don't hear people yelling "sit down" during live albums like I do at concerts, it's all good. But who would've been sitting down at a Rare Earth concert in 1971?
Tell me about, Mike.
My one opportunity to see the guys was when they played in 1973 at the Ohio State Fair--packed to gills; the stand was filled, every seat taken, and the entire field in front of and beside it--and I was probably 50 feet from the stage, off to the side a degree or 2--and I couldn't see a THING! People in front of me were sitting on their friend's and lovers' shoulders, and the rest of us could go to hades for all they cared! You couldnt have gotten the crowd to sit down if lives depended on it!
Well, as I don't hear people yelling "sit down" during live albums like I do at concerts, it's all good. But who would've been sitting down at a Rare Earth concert in 1971?
Tell me about, Mike.
My one opportunity to see the guys was when they played in 1973 at the Ohio State Fair--packed to gills; the stand was filled, every seat taken, and the entire field in front of and beside it--and I was probably 50 feet from the stage, off to the side a degree or 2--and I couldn't see a THING! People in front of me were sitting on their friend's and lovers' shoulders, and the rest of us could go to hades for all they cared! You couldnt have gotten the crowd to sit down if lives depended on it!
YOU GOT THAT RIGHT STEVE!!...WHAT I HEAR IS"GET DOWN" AND "ALRIGHT"....AND "OH HELL YEAH MAMA"...CAN NOT TELL IF THAT IS FROM THE CROWD OR STAGE..ANYWAY...LOVE THAT ALBUM!! WHO! WHO! MARK M
I'M NOT SURE WHAT YEAR THE MAESTRO PHASE SHIFTER CAME OUT,BUT I BOUGHT ONE IMMEDIATELY. BEFORE THAT,I WAS USING A FULL SIZED LESLIE SPEAKER FOR THE SAME EFFECT.THE SOUND MEN WOULD MIC MY AMP AND THE LESLIE,AND I WOULD KICK IT IN WITH A FOOT SWITCH. I REMEMBER OUR ROAD MANAGER WOULD HAVE TO GIVE THE AIR FREIGHT GUYS A LITTLE EXTRA TO GET THAT MONSTER ON THE PLANE!! WHEN THE PHASE SHIFTER CAME OUT,EVERYBODY BREATHED A SIGH OF RELIEF. I WOULD HAVE BEEN USING ONE OR THE OTHER ON THE "IN CONCERT" ALBUM.
It's great to get an understanding of how you were getting these tones.. For a while in the late 80's, and early 90's, I was doing nothing but blues.. We used to play places like the "Soup Kitchen" in Detroit.. I had a switcher that would switch between a HI-WATT 50, A modern Twin, and a Leslie!! The sound was GREAT but I swear that this period of time carrying that stuff around is what did my lower back in.... ;-}..
THAT WAS A GREAT COMBO!!BUT.......WAAAY TOO MUCH GEAR TO LUG AROUND.OUCH!!!!
I USED A HI-WATT FOR THE LEADS ON "GRAND SLAM",AND "BAND TOGETHER".......KILLER AMP.THE LESLIE I USED,MARK GAVE ME.IT HAD A 150 WATT DRIVER WHICH HE HAD INSTALLED.YOU KNOW THOSE KEYBOARD PLAYERS.......IT'S ALL ABOUT POWER!!!LOL. LIVE,DURING THAT TIME,I USED A VERY OLD MARSHALL(4 TEN OPEN BACK),AND AN AMPEG THAT I SWITCHED THAT SAME WAY YOU DID.
THESE DAYS,WITH THE FUNKS,I'M USING THE GOOD OLD TWIN FOR THAT CLASSIC MOTOWN SOUND.
THAT WAS A GREAT COMBO!!BUT.......WAAAY TOO MUCH GEAR TO LUG AROUND.OUCH!!!!
I USED A HI-WATT FOR THE LEADS ON "GRAND SLAM",AND "BAND TOGETHER".......KILLER AMP.THE LESLIE I USED,MARK GAVE ME.IT HAD A 150 WATT DRIVER WHICH HE HAD INSTALLED.YOU KNOW THOSE KEYBOARD PLAYERS.......IT'S ALL ABOUT POWER!!!LOL. LIVE,DURING THAT TIME,I USED A VERY OLD MARSHALL(4 TEN OPEN BACK),AND AN AMPEG THAT I SWITCHED THAT SAME WAY YOU DID.
THESE DAYS,WITH THE FUNKS,I'M USING THE GOOD OLD TWIN FOR THAT CLASSIC MOTOWN SOUND.
RAY
Hi Ray,
Ya know...I though I saw you using a twin @ the Milwaukee gig. I got so busy talking your ear off that I forgot to inquire about it If I recall correctly, weren't you using a hybrid guitar...a Telecaster body and a Strat neck or something like that.
ALL THREE OF THE GUITARS THAT WE USE WERE CUSTOM MADE BY ED(TOAD) GOETZ,AN OLD FRIEND FROM THE FIRST BAND I WAS IN. BABBITT'S BASS IS TOTALLY CUSTOM.EDDIE'S IS TELE STYLE WITH TWO HUMBUCKERS. MINE IS STRAT STYLE WITH THREE HUMBUCKERS.ALL THREE OF US LOVE THESE GUITARS!!
That last post wasn't me.. None the less.. WONDEFUL instruments there.. I wonder what Pick ups are in that strat?.. I love having a humbucker in mine. {in the bridge position only}.. I can shut half of it off..
Can't wait to hear the Funk's live man.. I look forward to it.. It's hard to go wrong with a good twin!!
Yea, I would love to have an old Hi-Watt amp again. At least for the studio..
ALL THE PICKUPS ARE SEYMOUR DUNCAN.I DON'T KNOW THE MODELS.
THIS IS A PIC OF THE FIRST STRAT STYE THAT TOAD BUILT FOR ME.IT'S SET UP LIKE YOURS.THE HUMBUCKER IS A DUNCAN COPY OF MY 61 SG.IT SMOKES!! THE BODY IS FLAME MAPLE WITH A SWAMP ASH BACK,AND FLAMED NECK.
THE NEXT TIME WE WILL BE IN THE DETROIT AREA IS ON JULY 5TH AT THE POWER CENTER FOR THE PERFORMING ARTS IN ANN ARBOR.
MY NEWEST STRAT IS ALL FLAME KOA WITH A BIRDSEYE MAPLE TOP.AS YOU TURN THE AX,YOU CAN SEE THROUGH THE FINISH TO THE GRAIN.BOTH AXES HAVE FIVE WAY SWITCHES THAT ARE CUSTOM WIRED FOR MANY VARIATIONS. HERE'S A CLOSE UP OF THE BODY:
Do you still have the Strat that you used for In Concert, Willie, Ma (save for Hum Along), etc..? That guitar/sound/tone is, in my opinion, synonymous with your Rare Earth work.
Wonderful Guitars here!! Man Ray, you can get a lot of combinations with three humbuckers and a five way switch.. Talk about a versatile axe.. Nice!!
I love the old fender stuff. Is that an early 70's with a three bolt neck?
Fender is actually doing a nice job right now with the Eric Johnson model.. It's sorta close to an early 60's strat.. But there was something about how those old fenders came togeth that is very hard to duplicate..
THAT STRAT IS A FOUR BOLT NECK. I BOUGHT IT IN PADUCAH,KY. IN 1971 SO IT'S PRE CBS FOR SURE.RECENTLY I LOOKED UP THE SERIAL # ON THE FENDER SITE,AND IT CAME UP A 1968.I GUESS IT HAD BEEN SITTING ON THE SHELF AT THE DEALER I BOUGHT IT AT.ACTUALLY,IT'S THE ONLY ONE THEY HAD.
THOSE STRATS BACK THEN WERE ALL A LITTLE DIFFERENT.SOME HAD HOTTER PICKUPS THAN OTHERS.THIS ONE SMOKED!! I PLAYED IT FOR 33 YEARS.FINALLY THE PICKUPS BECAME SO MICROPHONIC THAT YOU COULD TALK THROUGH THEM!! AS YOU SAID,IT'S PRETTY HARD TO BEAT THOSE VINTAGE AXES.
I keep hearing that Fender have really got their act together lately and their current guitars are of a very high standard compared to recent years. Are you finding or hearing the same things?
Rod
I'd be interested to hear what guitars you're playing nowadays? You may have mentioned something in another thread...if so I apologise for the repetition.
Yes, it is true that the newer Fenders are a huge improvement over recent years. This is in part, due to the involvement of great players who wanted new Fenders but wanted them to more closely resemble the earlier instruments. For a while, years ago, when CBS acquired Fender, the quality went down the tubes BIG TIME. {Ray can speak more intelligently than I on this subject, I'm sure} I played a recent "Eric Johnson" Model and noted that the quality was very good, both generally and as it related to making a truly traditional axe.
My Strat is NOT a traditional instrument. It's an American "Ultra Plus". It's very high quality but the shape of the neck is different and the Pick ups are completely different than a traditional Strat. Ironically enough, I'm about to do a complete rebuild of this Guitar. I am going back to a 50's style "ball Bat" type neck, and a traditional Bridge. I'm keeping the pick ups though.. ;-} I miss the feel of the old Fenders.
I AGREE WITH YOU IVAN. I BOUGHT A TEXAS SPECIAL STRAT BEFORE TOAD MADE THE CUSTOMS.IT'S NOT ONE OF THEIR BEST MODELS,BUT IT PLAYS AND SOUNDS GREAT! THEIR QUALITY HAS COME A LONG WAY.
WHEN FENDER WAS BOUGHT OUT BY CBS,THEY WERE GIVING ME GEAR.THEY GAVE ME A WHITE STRAT THAT I COULDN'T BELIEVE!! IT WAS THE WORST GUITAR I'VE EVER OWNED.I ENDED UP SETTING IT UP FOR SLIDE AND GAVE IT TO MARK OLSON.HE WANTED TO TRY A LITTLE GUITAR AT THAT TIME. BUT......I HAVE TO SAY THAT THESE "TOAD" CUSTOM AXES BEAT THEM ALL. BABBITT'S GOT HIS CHOICE OF ANY AX ,AND ALL HE PLAYS IS THE CUSTOM. AND......TALKING ABOUT OLD TELE'S.THE CUSTOM THAT TOAD BUILT FOR EDDIE WILLIS IS THE ONLY AX HE PLAYS.BEFORE THAT,HE HAD A 1959 TELE,WHICH HE PUT IN THE MUSICIANS HALL OF FAME WHEN HE GOT THE NEW ONE.HE SAID HE DIDN'T HAVE ANY USE FOR IT ANYMORE.
IF YOU EVER WANT A TELE THAT'S MADE ESPECIALLY FOR YOU, DOWN TO THE FINEST DETAIL,LET ME KNOW ,AND I'LL HOOK YOU UP WITH ED "TOAD" GOETZ.
Good to see you posting here, as always. Please let me know when you'll be in the Chicago/Milwaukee area - would like to connect. Of course I'ld be lying if I didn't say I want to see and hear you, Eddie, and Babbitt jamming on some of Toad's works of art.
THE ONLY SLIDE I PLAYED ON RECORD IS ON THE "STONEY AND MEATLOAF" ALBUM. THE SONG IS "LADY BE MINE",WRITTEN BY MIKE CAMPBELL AND MYSELF. I USED STANDARD TUNING.I NEVER REALLY CARED MUCH FOR SLIDE,SO I NEVER PUT ANY TIME INTO IT.
MY FAVORITE SLIDE PLAYER IS SONNY LANDRETH.HIS SONG,"CONGO SQUARE" IS GREAT!! HE DOES THINGS WITH SLIDE THAT I'VE NEVER HEARD ANYONE DO.VERY TASTY.MANY TIMES,SLIDE GUITAR SOUNDS EITHER "COUNTRY",OR LIKE A FLOCK OF SCREECHING BIRDS.IMO.
THE ONLY SLIDE I PLAYED ON RECORD IS ON THE "STONEY AND MEATLOAF" ALBUM. THE SONG IS "LADY BE MINE",WRITTEN BY MIKE CAMPBELL AND MYSELF. I USED STANDARD TUNING.I NEVER REALLY CARED MUCH FOR SLIDE,SO I NEVER PUT ANY TIME INTO IT.
MY FAVORITE SLIDE PLAYER IS SONNY LANDRETH.HIS SONG,"CONGO SQUARE" IS GREAT!! HE DOES THINGS WITH SLIDE THAT I'VE NEVER HEARD ANYONE DO.VERY TASTY.MANY TIMES,SLIDE GUITAR SOUNDS EITHER "COUNTRY",OR LIKE A FLOCK OF SCREECHING BIRDS.IMO.
Thanks for the invite to check out the TOAD Guitars. They look wonderfull and I really would love a single Coil Tele.. Perhaps over the next year I could look into this with your help..
I have to think about dumping some old gear I've had sitting around collecting dust. A well made single Coil tele is what I'm missing it seems. On the other hand, Duncan's are may favorite Pickups and there would be know reason to not go double coil with a tap.. I'll keep you posted.
Thanks again.. Hey, let me know your thoughts on the record. I would be interested in your take on my choice of tones and so on..
