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some appreciation - Adrian Belew


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Nah, you have to consider the time-frame -- no computers in the studio in 79 -- and Eno only had a couple of analog synths. He used the Roland 501 for echo, which doesn't really sound like that like. Definitely possible that its been treated by one of the analog synths. But like I say the Polychorus can get some wild sounds.

 

If I had to guess I'd say the Born Under Punches stuff, at least on the album, involved some splicing and studio tricks to get that sound. I'm sure the Polychorus and tapping were involved, but if you watch live clips of that song he doesn't get nearly as glitchy sounding and crazy. I've always wondered what the hell got the sound on the album, because its amazing, and Trey Anastacio's attemp with the WH-1 didn't even come close to sounding as cool and they didn't have anything like that back then.

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Belew's delay in the late '70s was a Roland DC30 rackmount analog delay. Although he was a big EH fan I've never seen any indication he used a Memory Man.

 

 

Sure looks like he's using a MM of some sort in the live 'Elephant Talk' vid I posted from 1980...

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Many years ago I saw Talkinh Heads live in Germany. No one knew anything about them at that time. They started really weak with one acoustic guitar and a singer, and the audience looked very sceptic. Soon there were more people on stage, however, and they sounded like an ordinary pop band, so the audience started to jump up and down. There were more and more people on stage and it soon sounded like heavy rock. Finally a guitarist started rip off solos and feed backs, and it was all extreme avantgard acid rock. The audience stopped dancing and just stood there looking. The guitarist was Adrian Belew and his playing was sooooo good.

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Many years ago I saw Talkinh Heads live in Germany. No one knew anything about them at that time. They started really weak with one acoustic guitar and a singer, and the audience looked very sceptic. Soon there were more people on stage, however, and they sounded like an ordinary pop band, so the audience started to jump up and down. There were more and more people on stage and it soon sounded like heavy rock. Finally a guitarist started rip off solos and feed backs, and it was all extreme avantgard acid rock. The audience stopped dancing and just stood there looking. The guitarist was Adrian Belew and his playing was sooooo good.

Thats possibly the coolest story I've heard on here. :eek:

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Belew is an awesome, inventive, and totally unique voice on the guitar. I have a lot of respect for him, especially after seeing him in concert with Talking Heads. But I would really love to have one of his Parker signature guitars. I don't think any other guitar on the market has so many features built in: Sustainiac, Roland synth pickup, Variax technology, etc. I'll have to pick one up the next time I have a spare $8,000 laying around.

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Many years ago I saw Talkinh Heads live in Germany. No one knew anything about them at that time. They started really weak with one acoustic guitar and a singer, and the audience looked very sceptic. Soon there were more people on stage, however, and they sounded like an ordinary pop band, so the audience started to jump up and down. There were more and more people on stage and it soon sounded like heavy rock. Finally a guitarist started rip off solos and feed backs, and it was all extreme avantgard acid rock. The audience stopped dancing and just stood there looking. The guitarist was Adrian Belew and his playing was sooooo good.



this must have been one hell of a gig!!!!

one question on compressor/sustainer.... where do you put in the chain...and how do you get to pitch the feedback?????:D

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i've seen him twice in the past 2 years, and he just wails. definitely check out his site:

 

www.adrianbelew.net

 

 

as for gear, his live setup for the solo/trio stuff was the prototype parker (which is currently being reversed engineered by parker, because the guy who figured out how to cram all that technology into the parker built 3 and then sadly committed suicide...), 2 johnson millenium combos, 2 vetta combos, 2 monitors (for looping me thinks). on the floor he had a ton of stuff...the johnson j-12 foot controller, the vetta floorboard, a roland synth unit (an older one), the boss cs-3, some distortion or compressor pedal i couldn't identify, kind of looked like a carl martin, a digitech whammy pedal, a digitech jimi hendrix experience pedal, an ernie ball stereo volume pedal, and a boomerang looper...

 

the first time i saw him he also had a keyboard and a mac laptop (running the line 6 editor software i believe). both times he used the same parker for the entire 90 min set, and squeezed every note out of it that you could imagine. my memory is that over the course of 2 sets, he tuned the parker once...and he uses the hell out of the trem...

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Many years ago I saw Talkinh Heads live in Germany. No one knew anything about them at that time. They started really weak with one acoustic guitar and a singer, and the audience looked very sceptic. Soon there were more people on stage, however, and they sounded like an ordinary pop band, so the audience started to jump up and down. There were more and more people on stage and it soon sounded like heavy rock. Finally a guitarist started rip off solos and feed backs, and it was all extreme avantgard acid rock. The audience stopped dancing and just stood there looking. The guitarist was Adrian Belew and his playing was sooooo good.

 

 

 

 

Similar routine to the 'Stop Making Sense' concert film. No Belew by that stage though, Alex Weir was playing additional guitar.

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the prototype parker (which is currently being reversed engineered by parker, because the guy who figured out how to cram all that technology into the parker built 3 and then sadly committed suicide...)



:eek: Where did you hear this?

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I've seen Belew 4 times. Incredible player and a genuinely decent & humble guy.

After the "Disipline" record came out, I saw KC in Ann Arbor : Roland Jazzchorus with 212s with an ugly pink Strat and don't know what hundred pedals.

He had like seven marks of different colored-tape at various points on the stage in front of his amp where he would step to create different tones of feedback - sometimes jumping back & forth to occillate (sp?) two feedback notes. Unbelievable

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