Chords for Steve Kimock

[E] _ _ _ [A] _ _ _ _ _
[E] _ _ [A] _ _ _ _ _ _
_ _ [E] _ _ [F#] _ _ [A] _ _
_ [E] _ [A] _ _ _ _ _ _
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_ _ [E] _ _ [A] _ _ _ _
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[E] _ _ [A] _ _ [G#m] _ [B] _ [A] _ _
_ _ _ _ _ _ [D] _ _
[A] _ _ _ _ _ [E] _ _ _
_ _ _ _ _ _ _ [A] _
[E] _ _ [A] _ _ _ _ [E] _ _
_ _ _ _ _ [F#] _ [E] _ _
[A] _ _ [E] _ [A] _ _ _ [D] _ [A] _
_ _ _ [E] _ _ _ [A] _ _
[Bm] _ _ _ _ _ _ [A] _ _
_ [E] _ _ _ _ _ _ _
_ _ [N] Now I'll say something.
_ _ So,
this [B] is not a vintage guitar.
It's kind of old, but it's a contemporary,
what do you call it, bell brass
Dobro, a German
recreation.
I just had to pick up on it, tore a fret out of it.
It's interesting, it's a fretless.
As it relates to the
album, that's
Careless Love.
[N] So that's the guitar on that track.
It's just an interesting guitar.
We'll take a quick look at
_ Alright, the kind folks at Vintage Guitar saying,
What about those guitars on the record?
Some of the guitars on the record are on the road.
It overlaps quite a bit.
This was, it's my 60 Stratocaster with the lipsticks on it. _
It's kind of beat up, but this is the basic tracks
for everything except for the
_ _ _ _ Kutasha.
And that's standard tuning for the record, strong 14 to 64.
_ _ _ _ _ _ _ _
_ Yeah, the Taisko Spectrum 2, that's the guitar on
Friend of the Sun with the Strat on the basic track, but this is the solo.
Through an Acoustic 150 to JBL, just a piss the purists off.
_ _ [D] _ _ _ [Gm] _ [N] 40-something Regal Square Neck, that shows up on all the miscellaneous acoustic bits.
_ _ _ _ 40-something L7 with the Lawler stuffed up against the
_ _ neck.
This wound up in a couple of places, but it's Mother's Song, the Strat as a basic.
_ _ _ _ _ _ _ _
Variation had Steel for basic track _ and
it had
_ [E] _ _
[F#] _ _ _ [C#] _ _ _ [E] this one octave pentatonic tuning.
[F#m] _ _ _ _ _
You know, behind all [N] the
chord sounds and melody, that bit was doubled.
The solo at the end,
the big Steel is my regular Supra
[E] _ _ _
_ E7, [N] that's guitar I play on stage for pretty much all the
_ _ Steel stuff. _ _ _
_ _ _ Most of the synth bass
_ the kinds of stuff were layered [C] up with my
Wondra Dovoli Avalon Mod Rock Basso _ _
Salt Lake City Pawn Shop, a great sounding bass, but this is all over everywhere.
_ _ _ [A#] _ _
_ _ _ The _ [F] _ _
_ little National with the Focus Power
pickup is the Mildman
Fingernail Boogie
[N] routine, that's just a half step above the
Supra. _ _ _ _ _ _
_ The remaining
slide guitar, which is also my main bottleneck guitar on stage, is this
old Supra Ozark, which is beat, but it sounds good. _ _ _
_ _ _ _ _ _ _
Yeah, that's the Salt Lake City guitar.
It's got the whole rubbed in it for me playing it.
_ _ That's the
Explorer, which is the main guitar along with the Stratocaster on stage, also with the whole rubbed in it. _ _
It's the difference between a vintage guitar and an old guitar. _ _
_ _ _ _ [F#] _ _ _ _
_ _ _ Not a vintage guitar, but this shows up on stage a lot.
That's the Kripe, _ the one that I use. _ _ _
_ [N] _ _ _ _ _ Not exactly sure how old this is, but again, this is
40-something Vega.
I've had this all my life.
This is, you know, probably the guitar
I practiced the most on and it's suitably worn out and it plays just as loud as a Stratocaster on stage
because it's plywood and it's post.
_ _ _ _ _ _ _ _
The live amps aren't that different from the studio amps.
There's, you know, usually
some form of Fender and some form of Dumble in there.
So there's the, you know, _
_ 410 Baseman and a 50-watt Dumble or 2 Rock
Old White Baseman.
It's just, they kind of mix and match. _
_ It's not important.
The guitar is the important part. _ _
_ _ _ _ _ _ _ _