I work for Nile Rodgers, the idea of him battling Kevin Shields in
a guitar duel is just great. They are both great players and haven't
done anything relevant in years. I will ask him if he wants to
battle...his response will probably be, "Kevin who?....My Bloody what?
Man I got Diana Ross on the phone, leave me alone!!!!!"
my vote is for Shields!!
I am bias, I havent gotten a raise in years!
― brianq, Tuesday, 28 May 2002 00:00 (twenty-three years ago)
my heart goes with NR
aka me, meaning you choose Kevin. Hurrah!
Anyway, what Nitsuh said. It just seems like more pedals and effects
than it is. Relevant part of the interview I did:
In that case, I guess everything just came across as being much
more like the album than I thought possible.
It's just the guitar. As far as I could figure out, people hear the
guitar and imagine about five things happening at the same time,
because of the pitch change. This isn't my theory, but it seems like
when it changes pitch and moves up and down like that, some part of
peoples' brains separates each part of that pitch variance into a
layer. The brain goes, "Right, there's about five guitars there." But
on the record, there's never more than two or three guitars at any one
point. There's less guitars on
our record than there is on an R.E.M. record, let me put it that way.
When there's one guitar, it's full-on. When we play live, we're
playing the same as we are in the
studio, it's pretty much the same. People know that we use something
besides just playing live, and they just think it's tapes. One of the
things that created the tape
effect was that Colm had a sampler on-stage, and we'd have stuff from
the record, the few incidental bits connecting the songs. Colm
triggered them, played them
whenever it came into his mind. They were basically a couple of bits.
The way they were on the record, it was the bits between "Soon" and
the one before, and
sometimes he'd just play that because he'd take too long between
songs, and he'd just start making noise for people from nothing. Some
of the greatest compliments
we got paid were the reviews that went on about the fact that they
could hear lots of stuff that we couldn't possibly be playing, moving
our mouths but obviously not
singing, just miming. I thought, "Brilliant!" People were actually
thinking we couldn't do that.
That's what I had been thinking all this time! I didn't mind in the
least!
It is funny when people realize how little there is. The way I've got
the guitar and the amps all set up, I've got it so there's two
completely different sounds, with a bit
of delay between them. I play both of them at the same time, which
means I'm out of time with the music slightly, depending on which part
of the music I'm listening
to.
Is that part of the 'glide guitar' effect I've heard so much
about?
That was just a joke! But all I mean by 'joke' is that I came to the
conclusion that 'maybe I'm playing guitar in a new way,' and I
thought, "Right, I'll call it 'glide
guitar.'" And that was it. After a year or two, you began to see it in
people's terminology. The idea was that that was the way it moved,
that's all....Just bend the tremelo arm when you play a chord. It just
goes, "Beeeeooooowww." That's it! It's so simple, it's unbelievable it
hasn't happened before! That's the
funny part, because you don't really presume you've invented a new
type of playing, when there are so many millions of people playing the
guitar. You don't think,
"Oh, I've found a new way of playing." It's just whatever comes into
your head, you go, "Aahh...whatever!" Then after a while it dawned on
me that people seemed
to shy away from playing like that. I can imagine why they wouldn't
get into it, because if you're not into it it sounds like shit. It
sounds really terrible, a gratuitous
bending of chords out of tune. But if you're into it, you move it,
somehow, with the music.
― Ned Raggett, Tuesday, 28 May 2002 00:00 (twenty-three years ago)