Lindsey On GuitarPlayer April 2003 Cover...

[estranged4life]

Red Rover-"The speed and aggressiveness in my fingerpicking is a big part of what I have to offer these days. Here, the very percussive, fingerpicked part was doubled, and then I slowed down the tape machine and bounced the double to another track. This allowed me to control the doubled part with a fader, and I moved the fader back and forth in time with the music. It almost sounds like some of that gating stuff they did in the 80's-that on-off kind of thing-except this method is more organic. My idea was to create some negative space to take the place of the drums, and I had to slow the tape machine way down to get the rhythmic manipulations as precise as possible. It's all about being in the pocket."

Murrow Turning Over In His Grave-"The very strange-sounding distortion part is based around a cluster of atonal vocals. You get five, six, or seven different tones together that are out of tune with each other, and it just becomes this arrgh kind of sound. I think there might be some slide in there, too. This song has elements of something quite traditional and recognizable in an almost generic sort of way, yet it departs from that at the chorus when you're suddenly into this weird Brian Wilson/Yardbirds acid thing. I would never want to do something that was generic all the way through."