MITCH DALTON
The studio guitarist’s guide to happiness and personal fulfilment, as related by our session ace. This month: When You Don’t Know What You Don’t Know.
Afew years ago I found myself at a pub gig somewhere in the sprawling South East London property hotspot that calls itself... er, South East London. Despite feeling chipper after a fine fish supper (sorry), my mood was not enhanced by being asked for ID and then being requested to remove my fetching designer cap in order to gain admittance. The subsequent double parking fine for entering and exiting a restricted zone that I had no idea was there, hasn’t created a fond recollection of the evening either. Oh well. I vaguely knew one of the musicians in the five-piece combo that was already up and at it, the line-up of which comprised vocals, guitar, bass, drums, and occasional keyboard.
I had brought my custom fit ear defenders along for the ride, something that, after many years in Show Business, I consider de rigueur on these occasions. The wisdom of this precaution was confirmed immediately as the chaps proceeded to showcase music from the golden era of blues and rock. The back catalogues of all the usual pub band suspects were given a thorough musical examination, all at robustly healthy volume levels. Various rock-based pop hits also received the group’s enthusiastic treatment. A couple of dozen enthusiastic patrons completed the scene as I nursed my half of Blackmore’s Old Peculiar and a bag of ready salted.
My attention was drawn inevitably to the guitarist. He employed a Gibson Les Paul and small Marshall amp, plus a large pedal board, comprehensively equipped to fill the room with overdrive, chorus, delay, wah, and other modulation sounds. With this impressive rig he was able to deploy his two signature sounds - distortion and what I would term ‘distortion plus’.
"THERE IS POTENTIAL HERE FOR A ROCKING LITTLE BAND. BUT THERE SEEMED TO BE A LACK OF APPRECIATION OF THE NUANCES"
Armed with this pair of patches he demonstrated a thorough grasp of the Minor Pentatonic scale in his extensive solos.
Despite my understandable focus on the lead axe-wielder, I could not help but observe that bass guitar and drums were not always in complete agreement as to where the backbeat might reside. Areas of uncertainty seemed to be the turnarounds at the ends of choruses, when drum fills appeared to turn into bars of 15/16 at the drop of a… er, semiquaver. Other concepts, like dynamics, more advanced harmony and programming were also paid derisory attention.
However, both during the two sets and while chatting to the band at the close of proceedings, I could not help but notice that the chaps seemed well pleased with themselves and their efforts. Now, here’s the thing. These boys all have a degree of musical ability. And there is potential there for a rocking little band. However, for some reason, there seemed to be a lack of appreciation of the nuances of the genre. In the immortal words of Duke Ellington, “It don’t mean a thing if it ain’t got that swing”. And I would use the latter word interchangeably with ‘groove’, ‘pocket’ or just plain old ‘time’.
Were I asked for an example in blues-rock I would point to that not exactly unsuccessful band who worked in this area - Free. Similar (ish) line-up, different outcomes, every tune thoroughly arranged and rehearsed.
It’s what separates us from 'the animals' (who actually were a pretty tasty outfit, too, to be fair). But first and foremost, you have to know what you don’t know.
For more on Mitch and his musical exploits with the Studio Kings, go to: www.mitchdalton.co.uk