The Mar­mite Ef­fec t

Opin­ion-di­vid­ing tones

Total Guitar - - BLACK PEAKS -

1. Revo­lu­tion – The Bea­tles (1968)

Len­non’s B-side to Heyjude saw him up the ante on dirty by adopt­ing the some­what reck­less tact of plug­ging his Epi­phone Casino straight into the ’board with Paul and Ge­orge to over­load the preamps. It’s prob­a­bly not a sound most fans seek to em­u­late but, hey, we’ll cut them some slack as they earned plenty of mu­si­cal credit in their decade to­gether.

2. Relin’ In The Years – Steely Dan (1972)

The Dan were known for re­cruit­ing the creme de la creme of mu­si­cians for ses­sion work, and El­liott Ran­dall’s play­ing with his ’63 Strat isn’t the bone of con­tention here. More that this kind of dis­tor­tion with a PAF neck hum­bucker through a cranked 400-watt, eight speaker AM­PEG SVT bass amp sounds jar­ring in the con­text of the other in­stru­ments. But you may dis­agree, be­cause one player’s bad is an­other’s bold…

3. Fool In The Rain – Led Zep­pelin (1979)

Page’s rep­u­ta­tion as a con­sum­mate com­poser and tone cre­ator in Zep­pelin is un­de­ni­able, so this was no ac­ci­dent. But two oc­taves down on an MXR Blue Box in the solo sounds like sab­o­tage in the con­text of this song.

4. Layla – Derek And The Domi­noes (1971)

Okay, this is con­tro­ver­sial; great song, great play­ers… but Duane All­man’s slide on that outro? Tun­ing or tape speed is­sues un­der­mine his tone and it sounds far from a choice mo­ment from a great player.

5. Heat Of The Mo­ment – Asia (1982)

You’re a prog su­per­group stream­lin­ing your song­writ­ing and you’ve just penned your most com­mer­cial tune to date. How can you give it that fin­ish­ing touch? En­ter Yes man Steve Howe and his off-key outro solo with a tone to strip paint with.

odd­mo­ment Steve Howe: great player with a very strange solo choice

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