Gudbuy T' Jane

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Gudbuy T' Jane - notes

This album was made at home, in my kitchen, which is fast becoming my favourite place to record when I am making my indoor/static recordings.

It's quite a large space and the walls and the floors are very hard surfaces, so there is a lot of 'early reflections' and big mids. Remarkably, there are no parallel surfaces.

There is a little more of a compositional method used in these tracks because I deliberately chose a guitar which I thought would suit the 'image' of the piece. Notable too is the fact that I played electric guitars again, with amps and effects pedals.

The music documents a very important relationship in my life of which I was one half. The relationship ended for the best of reasons but against my will and I miss it still, although there is no going back.

Although the record is presented as one piece, there are 15 sections each played on a different guitar. Now that this album has been recorded, every one of these guitars, with the exception of the Eden acoustic, has been placed in storage. It is my intention to leave them there for one year so that my only available instrument will be the Eden 8-string acoustic guitar. This will be an interesting experiment.

You may know that "Gudbuy T' Jane" is a song which was recorded by Slade, written by Noddy Holder and Jimmy Lea. I am old enough to remember the release of this record and when concert footage of the band performing the song was shown on that week's Top Of The Pops, I watched it on a Rediffusion, black-and-white, valve-powered television set in the front room of my boyhood home in the North-East.

It was a magical, wonderful and beautiful moment for me. I remember telling myself that one day, I would be in a band, on 'Top Of The Pops' but that I'd have to stand at the back because I was fat.

It's interesting for me to think about the instruments which were played on this album. The Gibson ES 175D and the ES330 have been my studio instruments and, as such, have been used on many recordings. When I came to play freely on these guitars, I couldn't avoid cliche and dreary repetition (these guitars simply refused a new approach), preferring instead to play it/me safe. This is why the Eden and MaSh guitars have been so successful: they have never played jazz, rock and roll or rock or reggae or any other type of musical form. There is no precedent.

However, I was pleased to play a Fender Stratocaster copy which incorporates a tremelo arm (or a 'whammy bar' - it's actually a vibrato device). This piece yielded some pleasing results, probably because I have very rarely played this guitar and never used the trem arm.

So, to me, this album half-works, half-fails, but thanks for listening or thanks for trying to listen. Email me if you'd like details of the guitars, pedals and microphones used.