Girl like you smithereens chords
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A Girl Like You (Live) BPM Key The Smithereens | Road Rage! Live From The Concert Stage!
Guitar World 's Damian Fanelli asked longtime Smithereens guitarist Jim Babjak to dissect 11 key songs from the band's impressive catalog. Babjak's descriptions also put the songs in context, providing an insider's view into what many still feel is New Jersey's greatest rock band. We traveled down to North Carolina and recorded the basic tracks for at Mitch Easter's Fidelitorium studio. I was told he had some vintage equipment I could use, so all I brought with me was my '52 reissue Telecaster.
I played through something called a Carr Mercury amplifier. I'd never heard of it before, but I liked the sound, so I went with it for most of the basic tracks. I would come in at night and play through an amp simulator that Don Dixon had made himself. Pat's mom was sleeping in the next room, so I only heard myself through headphones. I'm proud to say that "Sorry" was included in Little Steven's Underground Garage 's Top 10 as the coolest song of the year for !
I used to proudly show everyone the blood stains on the ceiling! What I learned from Pete is how to play guitar in an aggressive style and also in a gentle manor. Passion is something that comes from within you, but I think that after you play Who songs on the guitar, it has to have passion to work. It's as if you're channeling Pete's passion naturally because of the way the songs are structured. I think it is impossible to play the strumming on "Pinball Wizard" without playing full out because it's so fast and it's on an acoustic guitar, so you can't fake it!
Try playing along with the album and you'll see. When I was a year-old kid, I forced myself to keep up, and it made me a better rhythm player. For this recording, I start out playing the song just using my fingers while in the middle pickup position and then I switch to treble and use a pick throughout the rest of the song.
It's pretty much one guitar throughout the track except when I added the backward stuff and some strengthening parts during the "Sparks" section. I decided to cop the Live at Leeds version of "Sparks" rather then the Tommy studio version only because I find it more fun to play. It's a dynamic song and one of my favorites. It is used exclusively on this track.
The first two days of the Green Thoughts sessions were dedicated to recording the basic tracks for the entire album and concentrating on keeper takes for the bass and drums. The guitars and vocals were re-recorded later with the proper amps and microphones. I arrived in the studio early one day and our producer, Don Dixon, suggested we start without the other guys. I wasn't really clear on how the song "Something New" should sound. I think the band had a dirtier guitar sound in mind, but when I picked up Pat's late-'50s Lime Green Gretsch, I had to use that sound for the rhythm part.
The tone was just so clean and pretty, it fit the track like an old shoe. I always liked the way Buddy Holly used the bottom two strings in harmony like on his song "Heartbeat," so I took that approach for the solo. After I played the part on the bottom two strings, we decided something was missing. Don suggested I play a counter melody on the top string on another track to give it more depth. It worked really well, and the song is a real standout, adding a nice variety to the album.
The version appears on our rarities album, Attack of the Smithereens. I used a Stratocaster through a Music Man amp for that one.
The early take is very charming, and I like it a lot. It was my first time in a recording studio and I was playing it very safe.
That would soon change as my playing became more aggressive. A few years later I made a trade with my younger brother: his Rickenbacker for my Stratocaster. The Rick became my main guitar till , and I still use it to this day at select shows.
In I used that same Burgundy Red Rickenbacker on most of our first album and it's very noticeable on this track. It's got a slightly dirty tone achieved through the Marshall, but it still jangles in certain spots of the song. I'm especially proud of the ending guitar bit. We recorded the bass, drums and guitar live. I was standing right next to Dennis Diken and was feeding off the energy of his drumming.
I didn't even hear the bass because I wasn't wearing headphones. I was on auto pilot. I didn't know what I was going to play at the end because I was told it was going to be a fade, so I didn't plan anything. It was really spontaneous. I don't know why I threw in that Dick Dale "Pipeline" lick going down and then back up the neck, but it worked. Don Dixon was producing, and when we finished tracking, he said, "That's a keeper!
After five years of going nowhere playing bars and clubs, we felt we were ready to move ahead. I was really excited to be in a real big studio where gold records hung on the wall. The list was amazing! After we completed the recordings, we submitted these songs to practically every label out there and were rejected by all except for a small label in California called Enigma.
Don Dixon, who had engineered the first two R. We touched up the songs that were in the can and recorded another batch to fill out the album at the Record Plant. I used my Burgundy-Glo 6-string Rickenbacker through a watt Marshall series amplifier. I took that guitar on the road for the next three years all throughout the US and Europe. One night in Kalamazoo, Michigan, during the first tour, I broke the neck right off where it's attached to the body. Our road crew scrambled to find a guy that night to have it glued back on for the following show.
Amazingly, it plays better than ever to this day! By the way, my brother pointed out to me that if I'd had any music theory training, I never would have come up with that guitar solo. Apparently, I'm playing notes from a major scale in a song with minor chords. I put a lot of emotion into that solo, and the fact that I had four beers right before I recorded the part might have had something to do with it.
Madonna was going to sing the harmony vocals, but she backed out of it on the day of tracking. But these are all stories for another day. In the end, it didn't matter. Our first two albums were more successful than I'd ever imagined, and the band's playing was really tight from being on the road for the better part of three years. Confidence was high. We all had a hopeful feeling that this was going to be a hit song.
Our live sound got heavier and louder by , and we wanted to capture that vibe on our next LP, Smithereens The title of the album was inspired by the Rat Pack film Ocean's 11 , with a little push from Spinal Tap's famous line, "This one goes to 11," which was a tour bus favorite.
We hired Ed Stasium to produce the album, partly because he engineered the early Ramones albums and it didn't hurt that he was from New Jersey, like us. Guns N' Roses were originally booked to record in the studio but decided to postpone their session, so we jumped right into the open time slot.
I didn't own many guitars and I knew I needed a Gibson for this track. Luckily, there was a music shop near the studio where I picked up a used Les Paul with DiMarzio pickups. It had a thick and heavy sound, exactly what I needed. Ed had me play the rhythm part exactly the same way on four separate tracks to get that sound. I'm pretty sure I used a watt series Marshall, which is my standard go-to amp. Pat played the harmony guitar along with me on the last part of the solo, probably using his Fender Stratocaster.
I didn't want to bring the Les Paul on the road. People used to ask me, "How did you get that sound out of a Rickenbacker? I remember Pat coming up with the riff during a sound check in Madrid at the end of our first tour. We played it over and over again till we had a good groove going.
When we got home, Pat started writing the demos for the new album and then we all worked together on the arrangements in a rehearsal studio. This whole process took only two weeks! Don Dixon was called in again to produce and Jim Ball to engineer. It was the same team that worked on our first album in NYC, but this time we used the studio in the iconic Capitol Tower in Hollywood; it's that landmark round building that looks like a stack of records.
It was a great experience to work there. Dennis and I even snuck up on the roof one night to take some pictures until a security guard found out and asked us to come down. The whole album, including B-sides, took us about two weeks to record in December We had a bigger budget this time, so we were able to buy some new guitars.
I used my new Gibson SG for the rhythm and solo. It had standard humbuckers and I played it through a watt Marshall series amplifier. Pat played the riff on his new Fender Stratocaster, which was a reissue of the Sunburst Buddy Holly guitar. He installed DiMarzio Super Distortion humbucking pickups in the treble position, which also enabled him to record that cool feedback at the tail end of the song.
He went through his watt Boogie amp. It was one of the very first Boogie amps produced serial No. I thought it was the coolest-looking guitar at the time and I used it for most of the Green Thoughts tour.
I gave that guitar to the Hard Rock Cafe in Hollywood in , but I don't think it's there anymore -- and I have no idea where it is.
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