The band's great, the production crew's great, and I totally support the home-grown concept. It was great to finally play some music with him. “And I finally wound up on the East Coast with enough time to get up to Daryl's and represent. “He’s been a favorite of mine for a long time,” he said. Joe, who clearly enjoyed the experience, was equally enthused to play with Daryl. He’s one of the great guitar legends, an amazing musician. “Joe was one of the first to take that blues-rock groove and really funk it out. “I was a kid in the Temptones back in Philly when I first heard ‘Funk 49,’” recalls Daryl. In between, everyone dined on a delicious chicken mole, cooked up by Julieta Ballesteros, the chef at New York Mexican restaurant Crema. Walsh also played “Wrecking Ball,” a track from the recently released Analog Man, his first solo album in two decades, and “Funk 49/50,” a gem from his early days in the James Gang. The two perform a pair of Hall solo numbers in “Somebody Like You,” the VH1 Behind the Music update of “Someone Like You,” from his 1986 solo album, Three Hearts in the Happy Ending Machine” and a take on “Wrong Side of History,” from his recent Verve Music Group solo album, Laughing Down Crying. 15 simultaneously at and Viacom’s high-definition music channel Palladia.ĭaryl and Walsh hit it off right away, with roaring versions of the latter’s “Rocky Mountain Way,” cranking out his famed talk box, and “Life’s Been Good” that featured the two feverishly trading verses and guitar licks. For the 60th and latest edition of the show, now available on over-the-air syndication, Daryl and Joe trade guitar licks and verses on the latest episode, which premieres Nov. 13 2012-Life begins at 60 for Live from Daryl’s House as the critically acclaimed, award-winning web-to-cable series celebrates its latest milestone with a visit from legendary Eagles and James Gang guitarist Joe Walsh, who combines with Daryl Hall for a mighty rave-up that also includes learning how to combine 42 ingredients into a tasty chicken mole. Volume at 8 and Tone at 5 (using the front panel’s 1-12 designations) works best.NEW YORK, Nov. TONE TIP: The Pro Junior IV is bigger and louder than a blackface Champ, so don’t overdo the controls. Having compared the sounds of a tweed and blackface Champ when playing the song, I can attest that it’s definitely a blackface, as the tweed’s midrange is too prominent and the bass is too loose, while the blackface has the perfect treble sparkle and low-end spank. Walsh’s Tele tone on Funk #49 sounds particularly raunchy and percussive due to the guitar’s lowered action and Walsh’s use of a light-gauge nylon pick. Teles featured either a 'blend' circuit until 1952 or a neck bass/neck with tone control/bridge without tone control circuit from 1953 until 1967, so the Tele was most likely from 1959 or earlier as Walsh prefers Teles with maple necks - and he referred to it as “old.” Perhaps it was actually a 1964-’67 Vibro Champ, which is identical to the Champ with the exception of its added tremolo circuit.ĭetails about the exact year of Walsh’s Tele are unknown, although in the 1972 interview he said it was “old” and he had modified the pickup wiring to provide “modern” bridge/both/neck settings. Walsh’s Tele tone sounds particularly raunchy and percussive due to the guitar’s lowered action and Walsh’s use of a light-gauge nylon pickĤ0 years earlier, in a 1972 Guitar Player interview, Walsh said he used a 'Vibroplex', but this was probably an inside joke as Walsh is a ham radio enthusiast and a Vibroplex is actually a Morse code key.
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