Joe was originally a classical musician, but dropped out of UC Berkeley’s PhD music composition program to play in bands. His recording and performing credits include Tom Waits, PJ Harvey, Tracy Chapman, Marianne Faithfull, DJ Shadow, Courtney Love, Flea, Les Claypool, the Eels, and many other artists. His music appears in many films and TV shows. Joe helps develop musical products for various companies, notably Apple, where he was a major indie developer for the GarageBand, Logic, and MainStage platforms. He's written literally thousands of articles about music and musicians, and was an editor for both Guitar Player and Premier Guitar magazines. Joe also created a line of guitar pedals (www.joegore.com/pedals).
Wow! I can see ( . . . and hear!) why you love them! That tone is amazing! they are a joy to listen to! You can always live on instant noodles for a few meals to cover their cost!
I'm glad you mentioned volume because for a few weeks I was thinking about trying out these strings but I need to be loud enough to be heard by and with bowed strings. Also now they're $44.
The origin of the solo even in early jazz was to embellish the melody, even as far back as the Baroque era with its ornamenation. These were really minature improvisations. I agree with the idea that in vocal music the improvisations should take a back seat or at least in someway augment the song. I think it was Lou Reed who suggested the guitar solo was so you could reflect on the lyrics.
I remember trying out some old Kramers with aluminum necks in the 80s when they were on the used wall at a local shop in L.A. I used to frequent. Nobody wanted them in those days, especially in a trendy guitar market like L.A. They were going for nothing. Now they'd go for thousands. Same with Dan Armstrong guitars. Nobody wanted them in 1987. Today? They go for thousands. Joe Perry was one of the only guys playing one in the 80s. But Perry always played what he wanted, which is cool. Never cared about what was in or not. I have to say in the demo I like the sound of both necks. But I lean more in favor of the maple.
Kind of a Beatlesque take on Beach Boys. I could imagine George Martin working on the soundboard. Symphonic. Amazing what two solid players can do. Is the offset a custom job? Nice ax. What pickups are in it?
My opinion: a full 'hog guitar is quite dark and warm itself. So I can't find the reason to darken it more. I have a small Guild M-20 and I chose 'standard' phosphored bronze to balance the wood. On my J-45 I choose 80-20
Nice video, gave you a like. Yes, MORE-ley should have sold those pants... I would imagine they were red and white stripes with a blue waistband. Forget the pants... how about that hair? I use vintage chrome Morley pedals exclusively with my Fender Precision Bass Special, with Precision and Jazz Pickups. I added push/pull pots to put the pickups in/out of phase and to put them in series parallel. I added a Piezoelectric pickup and a separate jack for a more acoustic sound. My Morleys: Phaser Power Wah Wah/Fuzz Compressor Volume/Boost
Looking for suggestions on how to get a custom tele build with Firebird pickups to sound as close to an actual Firebird as possible. Open to suggestions from anyone with experience who has done this. Is their really much difference between the Lollar vs Seymour Duncan Firebird pickups??? I like that Duncan makes a 4 conductor version - is there a 4 conductor version of the Lollar as well?
Man, that’s a more controversial question than you might expect! I’ve been using Firebirds in Fender format guitars (bolt-on necks, and typically alder or swamp ash bodies). Firebirds were made of mahogany and had neck-through designs. Whether and how much bolt-on necks and wood choice affect your sound are among the most debated topics in guitardom. (My own subjective take: they don’t matter much, but many disagree with me. I’m also coming to believe that neck wood choice is far more significant than body wood choice. ) I love my Lollar FB pickups, but Duncans sound great too - though I’ve never done a side-by-side comparison. In any case, you can get mahogany Tele-style bodies and necks from Warmoth, and probably other sources. Four-connector wiring is great if you want to do a lot of wiring tricks - split-coils, out-of-phase, etc. But if that’s not your plan, I recommend making life easier with two-connector. Most pickup vendors can and will produce custom orders if you phone and talk to them.
I’m not sure what a C# altered is, or how it relates to Dm6. In traditional theory, you are unlikely to have a C# tonic - you’d likelier spell it in Db (five flats) as opposed to C# (seven sharps). You generally go with the spelling that has the fewest sharps/flats. Also, while MANY great guitarists disagree with me, I always find it weird to locate notes by thinking in the “wrong” key. If we’re in Dm, for example, I prefer to think of chromatic tones relative to the note D, as opposed to conceiving of them in another key.
An inspiring interpretation of some very intriguing and unique material! Any thoughts of releasing the album on CD? The booklet is a great companion to the album and I’d love to have a hard copy of both outside of the volatile, ephemeral streaming services.
Thanks for the very kind words! Yes, it’s SUCH fascinating music! Sorry, but I don’t plan to release on CD - to few people listen to them these days, and you have to order them in large quantities. (I’ve already got too many boxes of CDs of old projects in my garage! But I’d love to do a vinyl release someday.) The same goes for printing - I’m probably not going to sell enough hard copies to justify the print costs. (Like most things I do, this is a labor-of-love project, and I’m unlikely to ever recoup my time and expense.) But you can certainly print out the free PDF file for the booklet in color at a print shop.
Let me know how that goes! The effect cuts volume, which can be problematic on guitar. But on a real or virtual keyboard with the option of big level boosts, that might be less of an issue.
Thanks you so much! Right now my focus is finishing my 24-piece solo acoustic collection. Cryptomusicology. (You can hear the first two installments here.) But I’m dying to do a psychedelic Renaissance music album - maybe next?
It’s an interesting circuit. After experimenting I wasn’t inspired to add it permanently to any of my guitars. But I totally get how it would be perfect for some players.
That’s on me - I deliberately abandoned pick playing decades ago, mainly to sound different. (Though I occasionally use a pick if I’m deliberately trying to sound like a pick player.) But the RELATIVE differences are going to be very similar regardless of pick or finger use.
That is very high praise! Thanks! But I really, really love that solo. And I do believe that a lot of lessons are great at showing you how to copy something specific, but poor at showing you how you might deploy what you’ve learned in other contexts, or integrate it into your own style.
Wow - thanks for the support. I probably learned more about pedal building from making this video than from anything else. It was definitely the most labor-intensive video I’ve ever shared!
Just heard your interview talking about Tom Waits...and you mentioned this album, and I haven't even started, but I'm FREAKIN' EXCITED...I'll followup.
That thomastik low E is so big compared to the others. I wonder if the other sets would fare more favorably if you just swapped out the other 5 and kept the big low E string.
wow didnt think you could outdo your take on Wichita lineman but i almost fell out of my chair from rocking to your rendition of ooh la la. rivals the original with just a guitar duet. simply astounding mr. Gore!
I’m just Joe. For some reason, “Ooh La La” has always moved me. Did you ever see this great post-Faces version by Ronnie Lane, who wrote the song? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-cpSlT2BVvGc.htmlsi=ZWXfMWFLuud80w9_
@@joe_gore wow first it’s a huge honor to talk with you (even if it’s only text). Your music has positively affected me in so many ways throughout life. I sincerely thank you for that! Regarding the vid I hadn’t seen it before but thank you for sharing it! The grandpa cautioning the kid of the pain love can bring juxtaposes nicely with the upbeat progression. Which to me is Ronnie’s way of saying don’t be afraid, it’ll hurt but life goes on. Also I’ve started working through your subversive guitarist book and it really is a masterpiece!
Brilliant. Something about the odd turns of the melodies, combined with the rhythms, reminds me of the Residents. Great stuff! Excellent choice of video material.
Thanks so much, Jochen! I assume you’ve heard the story how Paul McCartney was so blown away by this Beach Boys album that he felt he had to top it. Sgt. Pepper was his response. So there IS a connection.
Thanks, Jochen! I assume you’ve heard the story about when Paul McCartney first heard this Beach Boys album, and he felt he had to top it. His response was Sgt. Pepper. Anyway, there IS a connection!
@@joe_gore Yes, I have heard that story and it led me to listen to "Pet Sounds" again with a more attentive ear. So, drawing this connection definitely wasn't my idea. But I still hear it in Your arrangement.
Isn't it miraculous? Just last weekend I performed an orchestral version with the Utah Symphony. Believe it or not, it's note-for-note from the manuscript.
I first put a set on an old acoustic with a magnetic pickup to get a darker, plunkier sound... Then I fell in love with the long life they have and the smooth, glossy slide tones.
