Premier Guitar September 2016 | Page 73

songs and really explore them, playing them a little differently every night, sometimes being an acoustic band and other times electric. We always pushed ourselves to become better musicians and songwriters in an organic way, rather than follow trends or react against them. While your latest album, Flux, covers a lot of stylistic territory, you remain true to your Southern roots, especially on a song like “Time to Leave.” Yeah. I view that as a Gram Parsons type of song—slightly left of center. I love the simplicity of it, but there’s this kind of really cool airy element that country doesn’t normally have, with all that echo and delay. I was thinking of the Flying Burrito Brothers [the country-rock band that Parsons co-founded with Chris Hillman] when I wrote it. On the record, you really explore alternate tunings. Which ones do you favor? In general I use probably about 15 different tunings, but on the album I kept things simple and went with just a few. “The Upstairs Land” and “Shipwreck,” for instance are in open G; “Music That Will Lift Me” is in open F; “Life” and “Astral” are in dropped D; and “For to Give” is in open G. professional development course knowledge is power A w o r l d f i r s t , i n d u s t r y o n l y, p e d a l t r a i n i n g c o u r s e A v a i l a b l e f r e e t o s t a f f a t a n y a u t h o r i z e d R e d W i t c h D e a l e r. Contact your Red Witch Distributor for details on how to enrol. original chrome series For fur ther infor mation on how the professional development cour se can benefit your business , contact: Julie Jolley Sales Co-Ordinator [email protected] w w w. r e d w i t c h a n a l o g p e d a l s . c o m How did you get into alternate tunings? Alternate tunings definitely appealed to me early on. I remember as a kid hearing Crosby, Stills & Nash’s “Suite: Judy Blue Eyes” and just being memorized by the tuning that Steven Stills was using [Editor's note: an unusual E5 tuning, low to high: E–E–E–E–B–E] before I even knew what an alternate tuning was. Later, when I got into old blues, the tunings that players like Mississippi Fred McDowell were using really spoke to me. But Nick Drake is the musician who’s had by far the biggest influence on me in terms of alternate tunings. I heard him for the first time in the mid ’80s. I had a friend who worked in a record store and he sent me Time of No Reply, which included the last four songs that Nick ever wrote and recorded. Hearing that was a game changer. Mike Poulin & Jake Woodruff of Defeater know you can’t be an original if you’re playing what everyone else is. Visit reverendguitars.com to start your journey. premierguitar.com PREMIER GUITAR SEPTEMBER 2016 71