HOW TO START PLAYING THE GUITAR?

[fluke]

Th' Legendary Shack Shakers

Nothing plays like a 335!!

I feel compelled to share Another View of that 335:

that doesn't look like a 335 at all.. Looking at the head stock I would say it is a white falcon. Looks kinda small though to be a falcon. But that could be the angle. After a quick search I did not find anything on the web to make my opinion 'hard'. Best guess it is a custom gretsch..

[DzM]

that doesn't look like a 335 at all.. Looking at the head stock I would say it is a white falcon. Looks kinda small though to be a falcon. But that could be the angle. After a quick search I did not find anything on the web to make my opinion 'hard'. Best guess it is a custom gretsch..

Looks like a gee-tar to me, but I know nothing of these things. I'm relying on you cats to identify what this one is.

[fluke]

found it anyway.. http://gretschpages.com/forum/gretsch-events/namm08-legendary-shack-shakers-certainly-are/9206/page1/

it's the david lee signature white falcon

[Kit Kat Kev]

Go READING,GO READING,AND while i m at it GO RAFA...PLEASE!

[Smoz]

Th' Legendary Shack Shakers

Dave Lee is no longer playing with the Legendary Shack Shakers, Duane Denison (formerly of the Jesus Lizard) is his replacement. Don't know why Dave left the band, shame as he is a good guitarist and seemed like a genuinely nice bloke, I had a chat with him when he sold me a Shack Shakers t-shirt at their last London gig (at The Borderline about eighteen months ago). As mentioned a few posts back, he plays a custom Gretsch White Falcon.

On the subject of Gretsch guitars, I noticed that Shanne Bradley recently gave an interview to Punk Globe website where she mentioned that Shane has bought one:


Punk Globe: Have you done been in the studio doing any recording?
Shanne: We have done about 4 tracks. so far. Still more to do. Shane has bought a new Gretsch guitar. Prepare for gut wrenching.He is working on his feedback.

http://www.punkglobe.com/shannebradleyi ... w0110.html

Philip, have you been giving Shane lessons? It has been many years since I have seen him with a guitar.

[seanpaddyb]

I've recently picked up guitar, and Streams of Whiskey seems like an easy enough song. I think I can do it but does anyone know the best strum pattern for it? Thanks!

[D18]

There's no real substitute for trying out a guitar in a shop. I have bought a number of electric guitars online without first playing them, and so far I have been very fortunate not to have made too many errors, but I don't think I'd ever buy my "main" guitar without playing it for a while. When I bought my current Martin Dreadnought in 2004, it even took me half an hour to decide between it and a seemingly identical, but to me, quite different, guitar in the same shop.

Hello Philip,

I was watching the Paris video thinking that a Martin dread would be the best guitar to compliment Jem's banjo style,and wondered if you had ever used a Martin in the Pogues. I haven't seen too many people playing Martin Dreads with a cutaway and sound hole cover so I assumed you were playing something else. After I read your post, I took a closer look at your guitar on the Paris DVD and was realized that you were still playing the Martin, which pleased me because I like Martin enough to own a handful of them.

Did you intentionally select a Martin with a cutway or was that just the best sounding guitar with the electronics you wanted that the shop had in stock? I don't think I've ever seen you play above the 12th fret in the Pogues, but I do realize that Martin makes the cutaway a standard on their "Performing Artist Series" which have the built in pickup, so maybe you didn't have a choice.

Last question, what model Martin do you play?

[philipchevron]

There's no real substitute for trying out a guitar in a shop. I have bought a number of electric guitars online without first playing them, and so far I have been very fortunate not to have made too many errors, but I don't think I'd ever buy my "main" guitar without playing it for a while. When I bought my current Martin Dreadnought in 2004, it even took me half an hour to decide between it and a seemingly identical, but to me, quite different, guitar in the same shop.

Hello Philip,

I was watching the Paris video thinking that a Martin dread would be the best guitar to compliment Jem's banjo style,and wondered if you had ever used a Martin in the Pogues. I haven't seen too many people playing Martin Dreads with a cutaway and sound hole cover so I assumed you were playing something else. After I read your post, I took a closer look at your guitar on the Paris DVD and was realized that you were still playing the Martin, which pleased me because I like Martin enough to own a handful of them.

Did you intentionally select a Martin with a cutway or was that just the best sounding guitar with the electronics you wanted that the shop had in stock? I don't think I've ever seen you play above the 12th fret in the Pogues, but I do realize that Martin makes the cutaway a standard on their "Performing Artist Series" which have the built in pickup, so maybe you didn't have a choice.

Last question, what model Martin do you play?

I like Martins though I prefer Gibson cutaways. The choice is not really related to how far up the fretboard I go though I like to have plenty of space in "Broad Majestic Shannon". The Martin is just a bit friendlier for live use and I never use a guitar I have not discussed thoroughly with Paul Scully, our sound designer. I say that but, although Scull-Ji likes all my current guitars, they are in reverse order, which is to say the prefers the Godin electro-acoustic best of all. I can't really get on, for two hours, with an instrument that essentially feigns acousticness! The Martin is a good compromise because the rubber inlay in the sound board is not too obstructive to me as a player. I almost always use an Elvis Presley style Gibson cutaway in the studio and at home.

[D18]

Thanks for the reply Phillip, I appreciate it. The guitar's comfort being a main factor in deciding what to use makes a lot of sense. I would think that by the time you mic a guitar, run it through and amp, mic the amp and mix that with the other 7 + guys you're playing with in the Pogues, there's not much left of the guitar's "natural" acoustic sound making it to the audience's ears.

One thing that amazes me about the Pogues is the wall of sound you guys guys create when playing live, there's not a lot of distinction between the rhythm instruments, but the whistle and accordion still stand out when playing a lead. The mix on the Paris DVD is great as it was when I saw you guys play live back in 2007. Mr. Scully does a great job with the notoriously hard to mic instruments used in the Pogues. Preventing feedback at those volumes must be a hell of a challenge.

Thanks again for the response, I wish you the best.

[Low D]

Thanks for the reply Phillip, I appreciate it. The guitar's comfort being a main factor in deciding what to use makes a lot of sense. I would think that by the time you mic a guitar, run it through and amp, mic the amp and mix that with the other 7 + guys you're playing with in the Pogues, there's not much left of the guitar's "natural" acoustic sound making it to the audience's ears.

An interesting aside, when taking my son guitar shopping last year, for something with built-in electronics, one of the leaders was a used Takamine. In the end, we decided that - while it sounded fabulously acoustic when amplified - it sounded strangley electro-acoustic when NOT amplified. I understand this is what Christy Moore plays on stage (my son settled on a new Sigma, which was great value and we're both pretty happy with).

One thing that amazes me about the Pogues is the wall of sound you guys guys create when playing live, there's not a lot of distinction between the rhythm instruments, but the whistle and accordion still stand out when playing a lead. The mix on the Paris DVD is great as it was when I saw you guys play live back in 2007. Mr. Scully does a great job with the notoriously hard to mic instruments used in the Pogues. Preventing feedback at those volumes must be a hell of a challenge.

Yeah, that guy should get an award. If he's not won any, The Pogues should invent one just for him. I've seen bands whose sound goes to hell with the introduction of one 'folk" instrument into the mix, how he balances accordions with guitars and mandolins and whistles and banjo... amazing.