BEN HARPER AND RELENTLESS7
WINGMAN JASON MOZERSKY REVEAL
how they crafted gnarly hooks and transcendent tones on White Lies for Dark Times.
“I’m going to shock you all with a record that peels the paint off the walls,” Ben Harper vowed
to GP readers in his February 2007 feature. White
Lies for Dark Times [Virgin] proves beyond any
doubt that he is a man of his word. Harper has
sidelined the venerable Innocent Criminals for
the time being, and his new gang is hardcore by
comparison. Drummer Jordan Richardson, bassist
Jesse Ingalls, and guitarist Jason Mozersky honed
their chops in a Zeppelin tribute band, and they
bring a similar thunder to Relentless7. White Lies
presents blues-rock played with command and
conviction, and it features an array of ripping
Produced by Harper, the record sounds as if it could
have been recorded in the 1970s, although the songs reflect
the urgency of the modern moment. They’re not overtly
socially conscious—as has been the case with much of
Harper’s previous output. This music is much more
straightforward, and simply sounds as if Harper has tapped
into the woe of the world, and wrenched that feeling out
of his pen, his voice, and his instruments.
White Lies for Dark Times includes a couple of
choice acoustic cuts, but it’s easily Harper’s most
electric record to date. The new sound marks another
significant step in the progression of an artist who
spent his youth in his family’s shop—Claremont’s
Folk Music Center—and was totally devoted to Weissenborn
Hawaiian-style acoustic lap-slide guitars
at the outset of his career. His quest to combine
acoustic resonance with Les Paul balls eventually
led to his signature Asher electric lap-slide, which
is his workhorse in Relentless7. Harper saves most
of his extended jamming for the stage, but the record
nonetheless features some of his best-sounding and
most memorable guitar playing. His scorching tones
on tunes such as “Shimmer and Shine” and “Keep
It Together (So I Can Fall Apart)” are earbud meltdown
material, and his graceful solo on “Lay There and Hate
Me” provides welcome melodic respite from the ruckus.
Jason Mozersky is integral to the guitar sound of Relentless7,
and although he’s a Jimmy Page fanatic, he doesn’t
deal in flash, instead bringing the requisite taste and poise
of a wonderful wingman. His lead on the bombastic blues
boogie “Why Must You Always Dress in Black” oozes cool,
and demonstrates uncommon restraint. Mozersky’s
understated nature also serves him
well as a tunesmith. “Up to You” is a textbook
example of how to select a few choice
notes from a simple chord progression, and
make them come alive with maximum vibe.
Harper and Mozersky have been buddies
since 1998, when Harper helped land a
record deal for Mozersky’s former band—
an alternative rock act called Wan Santo
Condo—and had them open some shows on
his Burn to Shine tour. Mozersky also appeared
on two cuts from Harper’s 2006 solo effort,
Both Sides of the Gun. One of them, “Serve
Your Soul,” also featured Ingalls and Richardson.
Harper made another record with the
Innocent Criminals—2007’s Lifeline—before
summoning the “Serve Your Soul” crew to
Eldorado studios last summer, just to see
what might happen.
You sure delivered on your promise of a paintpeeling
Harper: I’ve been gravitating towards
this sound, but I couldn’t express exactly
what was happening in the last interview
because this band still had to be proven.
What about Jason’s guitar style made him the
right player to complement you at this point in
Harper: If you’re going to play blues-oriented
rock or rock-oriented blues, you have
to play both styles really well. Jason demonstrated
that he could when I had him come
play on Both Sides of the Gun. The track “Please
Don’t Talk About Murder While I’m Eating”
was giving me some trouble, so I asked Jason
to try it. I didn’t even give him any direction.
He just jumped in and played some
John Lee Hooker-approved stuff that made
the song come to life.
Mozersky: It was a fast track, and I immediately
heard it as a fingerstyle Delta blues.
I plugged Ben’s ’54 Les Paul goldtop straight
into a tweed ’58 Fender Deluxe and cranked
it up to get a really dirty tone.
Harper: After the session I checked out
Jason’s Zeppelin tribute band with Jordan
and Jesse, and they were incredible, so I
invited them to play on “Serve Your Soul.”
I hadn’t envisioned it as a band track because
there were so many movements, and I
thought it would be best to play all the instruments
myself. Special things happen when
you do that because you know where the
idiosyncrasies fall. I never thought they’d
get all the subtleties, but they did it so swiftly
and with such force that I was left sitting
there in disbelief. Chemistry is the most
important thing for a band, and I recognized
it right away with these players.
Were you planning to do a hard-hitting record
ever since then?
Harper: I had an idea of where I wanted
to go, but nothing could be further from the
truth than for me to sit here and say that I
really knew exactly what I was going to do.
Some of the best things in my life have happened
to me. The “Serve Your Soul” session
was a signpost. The GP interview was
another signpost. I ended up doing an
impromptu set at the Bonnaroo festival with
John Paul Jones on bass and Questlove [the
Roots] on drums. That gig was the final
signpost. After it went down, I decided that
I needed to exist there—stripped down,
straight-up guitar rock.
Jason, what was your Zeppelin tribute band
called, and what was your angle on the music?
Mozersky: Well, we were called Pudge
Zeppelin because we were all slightly overweight
[laughs]. The name was funny, but
we took the music seriously. The live Zeppelin
package, How the West Was Won, had
recently come out. Obviously, Zeppelin’s
studio recordings were very elaborate productions
with layers of guitars, so it was
interesting to see how Jimmy Page broke
things down to the part he thought was most
vital to the song. I based my approach on
the live versions, and we kept pushing the
envelope with our own improvisations.
Harper: It’s cool to have a band that can
break into pretty much any Zeppelin cover
on a dime, and that is a component of this
band live. We will delve more deeply into
that eventually, but I want us to establish
our own identity with this recording first.
What direction did you offer, and how did things
develop once the sessions got going?
Mozersky: Ben told me that he wanted
the songwriting to be collaborative. I honestly
didn’t do much preparation, but I did
bring in a few ideas. For example, the first
track we cut was “Up to You Now,” and I
had the verse riff and the chords for the chorus.
Ben wrote the lyrics on the spot, sang
the vocals live while I led the band, and then
overdubbed his guitar part later. We had the
song done and mixed in a few hours. That’s
how we did most of the record, although it
varied from song to song. About eight songs
in, Ben said, “We’ve got a record—let’s form
a band.” Of course, we were ecstatic.
It sounds like you put a tremendous amount
of faith in these guys, Ben.
Harper: It’s true, but I actually developed
that faith on the last Innocent Criminals
CD. Lifeline was the first time I co-wrote a
record with my band, and that experience
prepared me for this one in huge way.
“Number With No Name” is another great
example of how things were happening in real
time. We walked in not having any idea of
what we were going to record. Jason played
that riff, it inspired me to write some lyrics,
and the song was done quickly. I overdubbed
the solo on a short-scale, depression-era
National lap-steel that’s just begging to scream.
It looks like a trashcan. I ran it through a Dumble
combo, with the mic placed a few feet back.
That was almost an accidental solo, really. I
stumbled into it on the first take, or at least
one of the first few takes. I used an exaggerated
vibrato because the song called for
something aggressive—bordering on frantic.
“Keep It Together (So I Can Fall Apart)” has a
badass riff with a cool lyric. How did you develop
Harper: In that case, I had been sitting
on the guitar riff for about six months before
the lyric hit me. I had to wait until I had lived
it enough to be ready to write that one. I
tend to let songs finish themselves unless
I’m in the studio writing on the spot. You’ve
got to be inspired and open to let that happen.
It’s like walking a tightrope because
you have to be aware enough to stay out of
your own way, and let the song come. It’s
amazing how lyrical music can be, and vice
versa. I feel fortunate to be able to marry the
“Lay There and Hate Me” has a great groove,
and the solo on the bridge is a real standout.
Harper: We devised that entire tune
around Jesse’s bass line, which is always fun
to do, but that bridge was one of the only
times during the sessions that we were
caught not knowing what to play on guitar.
Jason and I both kicked around some ideas
that didn’t work, so I suggested we have a
horn player come by, as I thought it would
be cool to have one place on the record where
there was a different texture. I plugged in
my Asher, and played what I heard in my
head as a sax part to demonstrate the idea.
I was just toying around, but the guys all
said, “That’s it.”
What was the vision from a production and
Harper: I believe in the power of great
gear in the recording process, and I’m still
committed to using mostly vintage gear in
order to achieve a warm, rich sound. I
brought my full arsenal of old amps, microphones,
and guitars. But I brought some new
stuff too, including my signature Asher lapsteels.
I’ve been incorporating them onstage
for quite some time, and I started recording
them through Dumble amps on Both Sides
of the Gun. Now that sound is on full display.
What Dumbles did you use?
Harper: I used three Dumble Overdrive
Specials individually. One is a switchable
100/50-watt single 12" combo from the early
’80s, which I call the “Black Carpet.” I used
that for the “Number with No Name” solo.
I brought another one with me that I bought
from David Lindley. I was honored to be his
first call when he decided to sell, because
Lindley is a huge influence, and the amp is
one of the first ten Dumbles ever made. It’s
a 50-watt head with a 2x12 cabinet. The amp
I used on the vast majority of the tracks once
belonged to Carlos Rios, I believe. It’s a
switchable 100/40-watt head with a matching
1x12 cabinet. I refer to it as the “Caramel”
because its suede covering is that color. I’m
so excited about the tone I’m getting. I’ve
been reaching for it my entire life.
Can you explain how important the Dumbles
are in getting a tone that inspires you?
Harper: Well, I don’t want people to
think that you need to have what I play in
order to get a great lap-steel tone. If you roll
off the treble, you can get a fine lap-steel
tone on any number of amps. But where I’ve
landed with the Asher/Dumble combination,
the tone feeds back to me. Your tone
should insist that you play differently, play
better, and that you’re more satisfied with
every note. Tone should represent a challenge
as well as an accomplishment.
How does your tone challenge you?
My tone emboldens me to take more
risks, and it challenges me to write songs.
Now my words come from my instrument
and my amp.
Did you bring a load of gear as well, Jason, or
did you use a lot of Ben’s equipment?
Mozersky: Both. I pretty much played a
different guitar and amp combination on
every song, but I did have an overall setup
strategy for the studio. Before the session,
I bought a ’64 Vox head and a 2x12 cabinet.
That rig was set up in a little soundproofed
fort right next to where I was standing in
the main room. The idea was to achieve some
degree of separation, while also being able
to feel what was happening. I find that’s
really important for me in order to play my
best. I split my signal to an early-’70s 100-
watt Marshall head, which was running
through a Bogner 4x12 cabinet in another
room. There were two mics on each cabinet—
one close, and one a bit further away,
and sometimes I used both amps, like on
“Number with No Name.” On other songs,
such as “Why Must You Always Dress in
Black,” I just cranked up the Vox. I cut my
rhythm tracks on both of those songs with
an Epiphone hollowbody from the ’30s or
’40s that I borrowed from a friend, and I
grabbed Ben’s Les Paul Junior for the lead
on “Dress in Black.”
Your phrasing is very sparse, especially considering
the frenetic pace of the tune.
Mozersky: I grew up listening to Albert
King and Freddie King, and that taught me
that what you don’t play is as important as
what you play. “Dress in Black” moves along
at a brisk tempo, and sometimes the best
thing to do in that case is take the opposite
approach with the lead, by playing something
really sparse. Also, I listen to the drums as
much as I do the guitar—I played drums for
years before I switched to guitar in high
school—and that’s all I did from there on out.
Can you explain how you use various vibratos
to make a note sing?
Mozersky: It’s hard to explain. I use different
vibratos depending on the effect I want
to get. I spent a lot of time learning how Eric
Clapton and B.B. King used vibrato. They’re
very different. I’ve just kind of assimilated
various techniques from my influences, and
rolled them into my own style.
The Ben Harper Signature Martin received a
rave review in GP’s January issue. Did either of
you play that on White Lies for Dark Times?
Harper: No, but I tour with it. Fishman’s
Ellipse Matrix Blend system is so well dialed
that it allows me to play at high volumes
without worrying about feedback—and that’s
been a revelation. I went with Martin’s M
size because it delivers the low end of a
dreadnought without being so over-encumbering
as to give up definition in the mids
and highs. I put everything I ever learned
about acoustic instruments into that guitar
from scalloped bracing to a more vintagelooking
finish. In 20 years they are going to
be some of the best-looking guitars out there.
I put my target logo on the headstock rather
than my signature, which I realize is a bit
out of the ordinary. I wanted the instrument
to be defined by the player, and I think that’s
more difficult to do when a guitar has someone
else’s name on the headstock.
There aren’t too many guitars coming out with
Adirondack spruce tops these days. Do you prefer
it to Sitka spruce?
I think that tends to get overworked in
arguments about acoustic guitar woods. I’ve
heard great-sounding instruments made from
both, so it’s hard for me to say. I’m not a
snob about either one.
Do you have any thoughts on miking acoustics?
Harper: There are a hundred different
ways to record an acoustic, but there’s usually
only one right way for a particular song
and moment. It’s about paying close attention
to your sonic environment, and what’s
going to bring out the best in that song
Did you play any of your Weissenborns on
I only played acoustic lap-slide in one
spot on the record, for the solo on “Faithfully
Remain.” It’s a Lyon & Healy Bell
Hawaiian harp guitar. It doesn’t actually have
harp guitar strings, but they call it a harp
guitar because it basically has the chamber
of a harp. It sounds so rich and full—like a
Dobro and a Weissenborn combined. When
you play a Dobro or Weissenborn after playing
the Lyon & Healy, it’s laughable.
You’ve come a long way from your origins as a
strictly acoustic player. Describe the progression.
Harper: I started out playing bottleneck,
and quickly shifted to acoustic lap-steel
because I was personally able to get more out
of it as a player and as a songwriter. My early
slide influences included Robert Johnson, Son
House, Mississippi Fred McDowell, Black Ace,
and Sol H`opi`i. Taj Mahal gave me my first
paying gig, and it was the honor of a lifetime.
I was just starting to dig deeper than the
acoustic lap-steel tradition allowed, by experimenting
with different ways to reproduce
the sound live. As much as I was dedicated
to playing acoustic slide blues, I was also a
huge fan of electric guitar players such as Jimi
Hendrix, Duane Allman, and Lowell George,
so I had always been looking to amp it up. I
think songs on my first record, such as
“Whipping Boy” and “Like a King,” represent
how I was pushing the envelope on acoustic
lap-steel. It quickly demanded that I get a
solidbody instrument, especially for use at
high stage volumes, just to keep my acoustic
instruments from turning to dust.
Did you go through a vintage electric lap-slide
Harper: I went through the vintage lapsteel
thing fast and furious. I tried every
single one—Nationals, Supros, Fenders, Gibsons—
but none would do because they were
all built with only one pickup. I essentially
needed roundneck options on a lap-steel,
which didn’t exist. Billy Asher understood
where I was reaching, so we collaborated on
my signature model. He honeycombed the
body, and laminated the top. The Series II
includes a pair of Seymour Duncan ’59 humbuckers,
and that’s the instrument I use the
most right now.
What’s your favorite instrument, Jason?
Mozersky: It’s a ’65 Gibson Firebird III,
which was a transition model. It has a reverse
body shape, and a non-reverse headstock
with banjo tuners. I play it a lot live, and I
used it on “Up to You Now.” For that particular
track, I ran it through an MXR Micro
Amp, and an Electro-Harmonix Deluxe
Memory Man delay, which is my favorite
pedal in the world. I split my signal into
Ben’s late-’50s Fender Twin and a Princeton
Can you offer some insights on how you play
the main theme that appears in the intro and
verses? The suspended notes ring out really well.
Mozersky: The underlying chords are
F#min and D, but I’m only hitting a few
essential notes, and letting them flow with
the vibrato from the Memory Man. I play
F# on the A string at the 9th fret with my
third finger, and then I hit the A at the 10th
fret of the B string with my pinky. I drop
that a half step. Then I change to the fifth
position, where I play D on the A string, and
E on the B string.
What are you playing on that track, Ben?
Harper: That’s my mom’s guitar. It’s a
single-pickup, single-cutaway Gibson Melody
Maker from the 1950s. I put really heavy
strings on it, and strummed chords in standard
tuning using a capo at the 2nd fret.
You’re a lead demon on lap-slide, but you seem
content to play simple accompaniment parts when
you pick up a solidbody or a traditional acoustic.
Harper: That’s a great point, and totally
fair. My lead guitar interests have always been
on lap-slide. That’s just where my heart is.
Do you always pluck with your fingers, or do
you incorporate picks as well?
Harper: I always play with my fingers. I
do most of the work with my middle finger,
trigger finger, and thumb, although I will
incorporate my ring finger and pinky at times.
I use different methods for different attacks.
I play with the pads on the front side of my
fingers for more sensitive stuff, and will dig
in with the tops of my fingernails for a more
of a Hendrix, or Stevie Ray Vaughan sort of
attack. I play upstrokes with the back of my
thumbnail—both for chords, and for occasional
solo notes. I’m constantly shedding
skin. After sitting in with the Allman Brothers
Band, Derek Trucks looked at my fingers
and said, “Man, I thought I saw stuff flying
Mozersky: I primarily use a pick, but will
roll it back and use my fingers depending on
the kind of sound I’m trying to get. I usually
play fingerstyle when the song calls for
something delicate, or during a lead when
I’ll incorporate some hybrid picking.
Do you ever play slide, or lap-slide?
Mozersky: I can play slide, but it’s not
my forte. I don’t play lap-slide at all.
I notice you taking various angles with the bar,
Ben. Can you explain how the bar, string pressure,
and the angle of attack factor in as you navigate
Harper: The Scheerhorn steel bar has
been a big part of establishing my sound and
feel. It’s got some weight, but it’s not weighty
enough to pull in a negative way. Because
the lap-slide is fretless, it’s all about applying
the proper pressure for precise, even
intonation. I vary the pressure and the angle
I take on the strings depending on the style
of the song, and where I’m at on the neck.
Certain songs require a feather’s touch, and
others require you to dig in. But the strings
get tighter as you move up the neck. The
trick is to apply less pressure in order to
compensate, and to take a sharper, more concise
angle to get the exact note you want
without hitting the other strings.
“Shimmer and Shine” really sizzles. Can you
offer some insights on the tone and the tuning?
Harper: The tone is the Asher through
the overdrive channel of the caramel-colored
Dumble. For the solo, I’m just playing
octaves, and using an Electro-Harmonix
Small Stone phaser. The tuning I use a lot,
DADDAD, allows me to play octaves easily
without having to worry about accidentally
hitting a third. I raise or lower my tuning
according to what kind of tone I’m looking
for on the bottom end. I wanted it to be very
tight and cutting on “Shimmer and Shine,”
so I raised the pitch a step-and-a-half to F.
That’s the start of the danger zone on a lapsteel.
Anything higher, and it’s better to use
a shorter-scale instrument so that there is
less tension on the strings.
Do the two of you match tunings on “Shimmer
and Shine,” or on any of the other tunes for
Mozersky: No. When Ben’s playing lapslide,
he’s always in one open tuning or
another. I stay in standard tuning and try to
find something complementary at the other
end of the spectrum. From there, it’s all about
listening to what he’s doing, and trying to
enhance the situation with cool parts and
How did you get that radical ripping, stuttering
distortion sound in the second verse?
Mozersky: I plugged Ben’s Les Paul
Junior into an old Vox AC15 that he had borrowed
from Jackson Browne for the session.
The stuttering effect is from some crazy fuzz
pedal that was at the studio. I was just messing
around when I came up with my part,
and in-between the notes I kept hearing
something in my headphones that sounded
kind of like an envelope filter combined with
a noise gate. Every time I let up on the
strings, it would make that “wah” sound,
and then it would close up when I started
playing again. There was just something
about the way that pedal reacted with that
amp and that guitar. I couldn’t really tell
what was happening, but I could see the guys
in the control room wigging out, so I went
in there with them and listened back to the
track. It was really weird, and I honestly don’t
know if I could do it again if I tried.
How did you create the noise 1:30 into “Boots
Like These,” when it sounds like the speaker is on
the verge of blowing?
Mozersky: I played a red sparkle ’63
Fender Tele cranked up through a 30-watt
Fulton-Webb amp, which was handmade in
my home state of Texas by my good friend
and guitar tech Billy Webb. I added a Fulltone
Ultimate Octave Pedal and a Fulltone
Clyde wah to get that sound, and it’s one of
my favorites on the record.
Are you using similar gear now that you’re on
the road as Relentless7, or has it changed since
Harper: Dumble made me a 100-watt
Overdrive Special combo from scratch. It’s
a new step for me sonically because it offers
a preamp boost for both the clean and the
overdrive sounds. It’s like having the most
otherworldly overdrive pedal built right into
the amp. That has become my go-to rig
onstage, whereas I had been using the
“Black Carpet” as my main touring amp for
Mozersky: I bring a pair of Hiwatt heads
on tour. I have a vintage DR-103 that has softened
with age, and a new CP-103, which is a
bit louder and more aggressive. I choose one
or the other depending on the venue, and run
it through a single Bogner 4x12 cabinet.
You didn’t mention using any Hiwatts for the
record. Why the switch?
Mozersky: Ben’s tone is very specific.
His Overdrive Specials have the same focus
in the lows and midrange as a Marshall plexi,
and such a big overall sound, especially when
he’s playing lap-slide. I was able to dial in
complementary tones in the studio using my
Marshall or my Vox, but I found that the
Dumble would just swallow them up
onstage. I experimented with a lot of different
amps on our first club tour, and the only
one that stood up and fit into the frequency
range that the Dumble doesn’t occupy was
the Hiwatt. It has a cleaner signal that blends
well, and allows us both to be heard.
What are you learning from each other’s guitar
playing as you get further into this experience?
Mozersky: Ben’s a very original thinker,
and he has amazing phrasing. I’ve learned a
lot about how to approach a solo by listening
to how he puts a string of notes together.
Sometimes I’ll hear a lick he does on lapslide,
and try to learn how to play it for my
own edification. Some translate, and some
don’t. I’ve heard a million players talk about
how enlightening it can be to transpose Charlie
Parker’s horn licks to the guitar. It’s the
same principal to learn lap-slide licks, but
as much as I’ve learned from that, it’s also
my job to play something different.
Harper: Jason pushes me to play differently
each night. For example, the solo that
I usually take at the end of “Dressed in Black”
is completely influenced by the solo he takes
in the middle of the song. He never plays
what you expect him to play, and he never
plays the same thing twice. What he does
play is so soulful that you feel every one of
his notes. He’s not looking to get a score
from the Russian judge. Trust me, he can
play fast and furious, and he will cut you
down if you really want him to play that
game. But unless you’re sitting in Guitar
Center, there’s really no place for that. I won’t
stand for it in this band.
What are you thoughts on the future of Relentless7,
and how that affects the situation with the
Harper: I haven’t even discussed the
Criminals in terms of a breakup or anything
like that. Maybe it’s just too difficult, and
I’m in denial. I can’t do both bands and
expect to be able to give my best to either.
It’s important to me that Relentless7 is not
seen as a side project, or as an experiment.
It’s a full-fledged band that deserves to be
heard with a fresh set of ears, and judged
on its own merits as being something completely
different from anything I’ve done
before. Relentless7 is out to kill you! I’m
completely committed and devoted to it on
a long-term level with no compromise. This
is where the process of creativity demanded
I be. It’s for keeps.
RELENTLESS7 ROAD GEAR
Acoustics Assorted Weissenborn lap-style slide guitars
including two Style 4s (circa 1924-1927), a Teardrop
(circa 1930), and a Style 1 (circa 1922), Fraulini 12-string,
Martin HM Ben Harper Special Edition
Acoustic Pickups Seymour Duncan Mag Mics
Electrics Asher Ben Harper Series II lap steel (with
Seymour Duncan ’59 humbuckers), ’56 Gibson Les Paul
Special, Fender Custom Shop Telecaster
Amps Dumble 100-watt Overdrive Special (1x12
combo), ’80s 100-watt Dumble Overdrive Special (1x12
combo), ’70s 50-watt Dumble Overdrive Special head
(with 2x12 cab), Dumble 100-watt head (with 1x12 cab)
Effects Hermida Zendrive, Ibanez AD99 Analog Delay,
Vox V847 wah, Electro-Harmonix Small Stone phase
shifter, Demeter Tremulator, Electro-Harmonix #1 Echo,
Univox U-1093 Super-Fuzz, Ernie Ball volume pedal,
Budda Budwah, Z.Vex Super Hard-On, Radial J48 active
Accesories All D’Addario strings—EJ16, EFT16, EJ17,
and EJ18 sets (Weissenborns); EJ21, EJ22, and XL115
sets (Ashers); EFT16 set (acoustics); and EXL110W set
(solidbody electrics). Scheerhorn steel slide bar.
TuningsE Major [E, B, E,G#,B, E], D Major [D,A, D, F#,, A, D],
DADDAD [lowered or raised as much two steps], Spanish G
[D, G, D, G, B, D], and B, E, A, D, F#,, B.
Guitars 1965 Gibson Firebird III,
Gibson ’59 Les Paul reissue, Fender
’51 Nocaster Relic with a custom Seymour
Duncan Charlie Christian Repro
pickup in the front position, 2000
Gibson SG, ’66 Fender Electric XII,
LSL 52.5 Aged T-Bone
Effects Dunlop Jimi Hendrix Fuzz
Face, Fulltone Ultimate Octave, ZVex
Machine, Ibanez TS9DX Turbo Tube
Screamer, Klon Centaur overdrive,
Moogerfooger MF-103 12-Stage
Phaser, Electro-Harmonix Deluxe
Memory Man, Demeter TRM-1 Tremulator
Amps Hiwatt DR-103 or CP-103
Custom 100 Pete Townshend Signature
head through a Bogner 4x12
Accessories Dunlop 418R Standard
1.14mm pick, D’Addario strings
of various gauges (and a custom 12-
string set for “Fly One Time”)