Under the Influence of Rock & Roll was recorded using 10 different guitars and 10 different amplifier configurations. Five of those guitars would be vintage Fender Stratocasters. Although it’s the same type of guitar, each one sounds quite different. Many of the guitar tracks were recorded with a 1968 Stratocaster. That’s been my number one Strat for the last 12 years. It’s got a great feel and the tone is rich and even sounding. The 1956 Stratocaster, I have had for about 25 years. It’s got a clear ‘bell like’ tone. It sounds completely different from the other Stratocasters. I guess it’s a combination of the wood, and the pickups. Also, I used my old ’55 Telecaster for much of the rhythm work. It’s a real work horse guitar. It’s all beat up with its finish completely worn off before I acquired it in 1989. The bridge pick up on that guitar sounds amazing. It’s a real ‘bar fight’ guitar!

Guitars used on the album
1) 1968 Fender Stratocaster- sn# 245359 – standard tuning
2) 1969 Fender Stratocaster- sn# 269510 – standard tuning, open tunings E, Bb, (some slide tracks)
3) 1956 Fender Stratocaster – sn# 104202 – standard tuning
4) 1973 Fender Stratocaster –sn# 396895 – open tunings E, A, C, F (slide guitar only)
5) 1977 Fender Stratocaster – sn# 772714 -open D – slide guitar only (.013- .054 flat wounds)
6) 1955 Fender Telecaster –sn# 6676 – standard tuning and open E tuning
7) 1994 Fender Telecaster Clarence White B bender- sn# CW008- standard and drop D tuning
8) 1977 Rhyne Acoustic Guitar – sn# 770017-standard and open tunings
9) Late model Fender Baritone Guitar- (loaned from Jesse James Dupree) tuned B, E, A, D, G, B, E
10) 1995 Jerry Jones Single Cutaway- sn# 0895 -standard tuning ½ step down ‘Vampire Choir’–rhythm track (left channel)

Amplifiers used on Under the Influence of Rock & Roll.

We used different guitar amplifiers to create different guitar tones. The Marshall got recorded a great deal of the time. It’s the most powerful Marshall amp that I have ever owned. It produces what Eddie Van Halen called ‘the brown sound’. Or if you want Eric Clapton’s Cream era ‘women tone’, well this is the amp. Its history is interesting. Jim Marshall gave it to Roy Orbison as part of his endorsement deal. From there JR Cobb owned it and through a few ‘change of hands’ I was fortunate enough to acquire it about 20 years ago.

The ’67 Super Reverb is my mainstay amplifier. I bought that amp while I was working at Jacksons Music Store in 1988. If I had to have one amp, it would be that one. If you learn how to work the controls, you should be able to play most any style of music there is. Also, the tremolo on this amp has been slowed down to a crawl. Once it’s slowed down, it creates an effect eerily similar to the sound of a rotating speaker cabinet.

Also some of the clean sounding guitar tracks were recorded using a Fender Vibro King amp. It has a beautiful luxurious sound with a reverb tank built right into the amp. The 3×10” speaker combination captures a different sound altogether. We always used a tube mic for this amp. And the volume was usually set around 2 or 3.

1) 1968 Marshall Super Tremolo (Plexi) 100 watt head – sn# ST10372
2) 1967 Fender Super Reverb (4×10” speakers) – sn# A21011
4) 1965 Fender Showman head – sn# A01240
5) 1993 Fender Vibro King (3×10” speakers) – sn# 0161
6) 1963 Fender Champ (1X8” speaker) – sn# C18269
7) 1975 Fender Champ (1X8” speaker) –sn# A62287
8) 1949 National (1X10”speaker) – sn# X10512
9) 1972 Marshall Cabinet with 2×12” 25 watt Celestin speakers (open back)
10) 1995 Marshall Cabinet with 4×12” 25 watt Celestin speakers (closed back)

Effect pedals etc. used on the album
There is only one ‘effect’ that I use all the time, and that the Fulltone TTE tape echo unit. It’s a new and much improved version of the old tube Echoplex. It’s the ‘wow and flutter’ effect that catches the ear. But given the fact that the tube preamp supplies a warm sound to your guitar signal really helps as well. The only effect pedal I ever employ is the Dunlop Rotovibe. I think it’s a cool sound to add here and there, but not too much.

Fulltone TTE Tube Tape Echo Unit (has a built in tube preamp) sn# 00925
Dunlop Rotovibe
Hammond Leslie 147 Cabinet with a rotating speaker cabinet (used on ‘Stingray’ and ‘Chainsaw’)
Avalon 737 (for direct input recording only)
Heil Talk Box (used only on ‘Stingray’)
Radial Tonebone JX2 (amp splitter with 10db boost switch)
Snark SN-10 Tuner (true bypass)
Dunlop Jazz 3 guitar picks
Rocky Mountain ceramic slide
Wine bottleneck glass slide
Shubb capos
Levy’s leather guitar straps
GHS .011-.050 Burnish Nickel electric guitar strings (.011, .014, .017, .026, .036, .050)
GHS .012-.048 Silk and Steel acoustic guitar strings (.012, 016, .022, .028, .038, .048)
*(guitar tracks that have tremolo are from the internal amps, Super Reverb. & Vibro King)*

All guitar tracks were recorded with Neve, API and Great River microphone pre-amps.
Microphones used for guitar tracks: Sennheiser 421&441, Royer121, Groove Tube GT-66, Shure Sm58