MrP

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MrP last won the day on January 9

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  1. This site (below) is not the easiest to navigate but it seems someone from there has spent a lot of time emailing John's old guitar tech, Dave Lee (one of the nicest guys in the biz. He let me hold one of Fru's guitars once for a photo). The site has many interesting stories about his guitars- like the battered white Strat from SA era that looked like the paint had melted off the front (John did a guitar mag cover shoot with it once), John gave to it Jack Irons son, who converted it to a lefty and still plays it! Very cool. Anyway the first page I linked to shows the 62 Strat discussed in this thread very shortly after John got it (not the best photo but you can see how new it looks and how small the wear above the pickguard is). http://www.jfeffects.com.br/search/label/DaveMail Here is another clearer one from even earlier:
  2. Some of us oldies remember John coming back with the 62 strat. It was almost pristine in 98, very little wear. We have watched it age as the gigs go past. It doesn't surprise me about the pickups. John doesn't know the year of some of his guitars. He's a strange one in that he's a tech head in some ways but not in others. His knowledge of old synths far out ways his knowledge of vintage guitars and specs and also setups/maintenance (latter probably because someone else has done it for him since the late 80s).
  3. They are the same guitar. 50s Strats (up until late 59) had maple boards unlike the one pictured. The grain can't be seen as the top picture is a photo scanned from an old magazine and the second is a digital photo. He broke the pickguard and it has been replaced (this was after the pickups were replaced with Duncan's). The screw placement fits late '63 onwards. I know Fender sell '62 mint green pickguards with no truss rod scoop, maybe they do for '64 style as well?
  4. I think this is a lovely idea. I've recently bought a lot of lyrics books, like the Doors for example. I've listened to the music for well over 15 years, but reading the lyrics alone brings a new dimension into it, a new appreciation. I think that art can be seperated and individual elements enjoyed as much as when it is a whole. In doing so, when collected, it creates a new art in itself. I thought of collecting the lyrics to a number of songs and compliling them, having them bound and printed to give to my friends and loved ones; the starkness of the print on plain paper with a traditional serif font, as opposed to reading tiny lyrics on colourful cd covers. Then I always love seeing the early draughts of lyrics, where lines/words are changed, written in the authors hand, some that have accompanying illustrations. That would make a good book also. It's a shame there's not more of that sort of thing out there.
  5. John only had his red Jag at the time of rejoining; Anthony lent John the money to get the '62 as he needed a Strat for the band. This I believe is John's account. The whole gift thing seems to have grown from this. Who knows? The maple necked 50's one came after. edit: from here http://invisible-movement.net/articles/2003-press/06-guitarist/4
  6. Sorry, this is off topic, but I just noticed John had Sean's guitar strap when they played at ATP 2005 with Yoko Ono and Vincent Gallo or maybe they both own one like that. John was playing Sean's guitar.
  7. Wasn't there some other instrumental floating around claiming to be JF's a year or so ago (that clearly wasn't upon listening)? People really into John's work will spot a fake (if it is).
  8. I read that article and couldn't see where he described why it's limiting? I'm not sure he did explain? Each Strat (or guitar) is a different beast. Maybe it the strings choke out or the neck is thicker meaning he can't do his usual things on it? The tension can feel different on each guitar and if a guitar has a stiffer feel, it's going to be harder to play. I remember reading that he stopped using it (the limiting one) live cuz it kept playing up.
  9. I've never had to reset intonation from adjusting the action. Unless there was a really drastic change in action, I couldn't imagine this being a problem. Remember to set the action acording to the neck radius, so it follows the curve of the fretboard. Modern strats are usually 9.5 or 12 inch radius. I've seen guys in guitar shops 'fix' a buzzing string by raising the individual saddle, this ruining the radius. With vintage radius (7.25) the higher strings can choke out when bent, so a more sabor-like shape radius can be set to accomodate this. With the high E, B, and G being slightly higher than the radius.
  10. I spoke with Dave Lee after John's ATP gig in 2005 and he showed us the amulet system. He laughed because there was duct tape over the 'a', so it said 'mulet'. He told us that some guy in LA fitted the system for John in his 0-15's and pointed out that the sensors are placed behind the bridge. It was with out doubt the best live acoustic pick up system I've ever heard. There was no harsh tinny sounds. It was honest and powerful and really showed off the tone of John's 0-15. It plugs straight into the PA system. Trans Audio Amulets aren't cheap though, and getting an experienced repairman to install it correctly is another matter.
  11. The strings in this song are amazing- truely some of the best I've heard. I wish it were instrumental. That comical voice> doesn't sound good to me. If I have a friend round to listen to the album I fast forward it as I feel embarrassed when it's on.
  12. I see Newbury are selling more of these on eBay. How many did John sign!?
  13. The Mex strats are good value, but they don't tend to hold their value as much as American strats. Also the finish is going to be poly and so won't age gracefully like a HWY 1 would and will be really shiney in comparison. You can get great examples of both and also stinkers- best to play them first in case you get a bad one.
  14. I spoke with Iva about this. These 2 bonus songs were mixed first and John decided that 'they didn't fit in with the arc of the album' and mixes after 'got more tripped out'. That's why they sound a little different. John sent me those handwritten lyrics for my article 'that best fit the topic' of the interview I had with him (lyrics to Ah Yom and Today). We talked a lot about meditation and spiritual growth. The lyrics seem to fit in with that perfectly. John also told me that he had never meditated back in 2004, only read about it. So the topic of the songs that could be described as realisations from meditation could only have been written after that. I think it's likely that John recycled that line ('a million ways things could be') as opposed to have written the song back then.
  15. These are excellent points I agree. I just hope that the meeting his own needs doesn't turn into selfishness. I understand to be in a position to give in anyway, that your needs have to be met first. That is the healthy way. To disregard others for self-satisfaction is the shadow side of this. I hope John is not going down this route- just some comments of his and parts on the album concern me a little. I'd hate for John to end up so egotistical that he's like the singer from Razorlight. That's so offputting.