Lots of mids and compression.
He really knows how to compose a 'long' or continuous melody in a solo- it transcends the guitar and gear usedHis sound is so unique. Once again, I’m a huge Cars wonk. I grew up with them and in my town , no less. You can isolate any guitar track and you know it’s him. Vastly underrated in my opinion.
You’re spot on. None of his stuff feels gratuitous. It’s business like, but fits with in the frame work of the song. He gets in, gets after it and gets out. A great solo is one you can hum . Honestly, you could sit here all day and pick out his solos .He really knows how to compose a 'long' or continuous melody in a solo- it transcends the guitar and gear used
- they support it, but it's his genius that's 'the thing!'
Listen to the solo in "My Best Friend's Girlfriend"- it's amazing as he sewed rockabilly and blues licks ( and the tone that goes with them) into something really unique!
Same with " Its All I Can Do" - kind of mimicks the Chorus vocal, but there is more there...
Great guitar craft!
Listening to Elliot points out my own deficiencies- by comparison, I'm just a blues/country hack, stringing cliches togetherYou’re spot on. None of his stuff feels gratuitous. It’s business like, but fits with in the frame work of the song. He gets in, gets after it and gets out. A great solo is one you can hum . Honestly, you could sit here all day and pick out his solos .
I know E.E. has always cited Gerorge and The Beatles as huge influences, and be it vocal or guitar, they were never short on melodic ideas.Oh my God , I’m horrendous. But as you say , listening to him and others, is what keeps us hacking
“On ‘Touch and Go’ and a B-side called ‘Don’t Go to Pieces’ there’s a lot of Rickenbacker 12-string. Also, during the Panorama period, I started working with Fender. They had just come out with the new Lead I and Lead II series, and they made me a couple of those and put me in their catalog. The Lead I is what I used for the solo in ‘Touch and Go.’ If I remember correctly, I played that through a Mesa-Boogie head through a Marshall cab. It was just one of the go-to amps during that time. We had Fenders, too – Twins, Deluxe Reverbs, stuff like that.”
One of Easton’s main guitars from that era was a ’61 Strat.
“I used it quite a bit; it’s on the solo for ‘Dangerous Type’ and ‘It’s All I Can Do’ (from Candy-O). I think I used it on ‘Panorama.’ I can’t always remember what I played on the deep cuts, but I do remember those.”
I contacted Mr. Easton through this forum years ago asking where he got the distortion on the song “Candy-O”. He actually answered me and said that all the tones on that album were cranked amps, no pedals. Unfortunately, he didn’t say WHAT amps. Live, they used Ampeg in those days, but he was also known to play Gibson Lab Series.
I believe he started using a Rat later on, around the time “You Might Think” came out.
That's what I thought. Muff.That's interesting, but I find it hard to believe that the lead in "It's All I can Do" was just a cranked amp.
Sure sounds like a fuzz pedal to me. Maybe a Rat.