Way to the woods music full#

I did recently pick up a guitar that was at my parents, it’s a black Fender Telecaster Aerodyne I think? It’s made it Japan. So I wrote back and said “Look, we’re on it, I just have to get the resources together to fix the guitar.” I got this really lengthy, sweet email from a fan that was basically working up the chutzpa to tell me that my guitar was really interfering with the crowd! She was like, “Every time you tune, Marsha has to talk.” Marsha’s really awesome, but you can just tell that she doesn’t know what to say. I do, it’s a bone of contention right now with my band mates. If I had a reverb pedal, I’d probably take that out, but I don’t right now. I don’t have a reverb pedal, but I do have a funny converted black face Champ that’s kind of like a Frankenstein. If they don’t have anything, I’ll bring my Deluxe. I’ll suss out if they have a decent house amp. We do a lot of gigging in New York City, so the less you can tote in a cab, the better. You know, it kind of depends on the club.

I also brought in my Fender Deluxe Reverb, just because I really love the sound of that Gibson guitar through a Fender amp. For most of the tracking we put it through an older Vox amp. The ukulele was played by my band mate Marsha and our producer Jeremy. We did do some acoustic layering just to fill out the songs.

He had a really nice Tele that I played on some stuff, and he had a 335 that I played on some. The person that owns the studio is a guitarist, so he had a lot of guitars there. It’s not great at holding tune so it really shines in the studio, so you can retune at will. It’s a semi hollow body, cutaway, pretty lightweight guitar. One of my favorite guitars I play a lot is a Gibson 446, which is the guitar that Pat Martino played in the ‘70s. Tell me about the instruments you used on the record. Everything got played, there’s no programming on the record. I’m not sure if all that classic rock has an influence record, apart from the Jimmy Page tribute song, but it’s still a pretty organic sounding record with live instruments. I grew up listening to Crosby, Stills & Nash, Cat Stevens and Simon & Garfunkel, and also the Grateful Dead, Led Zeppelin, Cream, and a lot of blues stuff. We wanted a lot of classic sounds in there. We talked about how we love the Fleet Foxes record for a current reference.

Way to the woods music full#

Our last album had been much more folky in some respects, with percussion as opposed to a full drum set. I really wanted the album to be electric mainly. There were newer songs, too.Īs far as the songwriting process goes, that’s pretty diverse. The songs had been written over a longer period of time, and there were songs that didn’t make it on our previous record that we put on this one. What were your influences when you were working on this album? Let’s talk about your album a little bit more. So we felt really good about sharing the bounty with them, and it was great! We loved pretty much everything about PledgeMusic. They’re an organization that worked to fight the effects of climate change and bring awareness, and also try and secure a better future for our planet as a whole. 10% of the proceeds went to 350.org – an organization that we really support and we want to see succeed. We did a funny sort of fundraising video that we thought was hilarious, and that other people thought was half as hilarious as we did – but that’s still pretty hilarious! We made 50% over our target. Can you tell me a little bit about how that went? You guys did a PledgeMusic campaign for this album. So I’m really excited for people to hear it. It’s my favorite thing that I’ve ever done together with my band. Yeah! I’m really excited about the record. I spoke to Murphy as she was preparing for its release, which is out now on Rex Records. Whales and Roses was recorded with producer Jeremy Sklarsky (producer of Freelance Whales’ debut album Weathervanes) at Threshold Recording Studios in NYC. Murphy and Webb met up at Columbia University in New York City and decided that future cavorting was in their stars. We Are The Woods hail from Lancaster, Pennsylvania. With the release of their new album, Whales and Roses, she and bandmates Marcia Webb and Tyler Beckwith create a concoction of peculiar and varied subject matter, spot-on harmonies, acoustical enchantments and a dash of fun. Murphy’s parts make a very delightful whole. Part rocker, part quirkster, part folky, part songstress. But on further inspection, Murphy has proved me wrong. The first time I heard Jessie Murphy and We Are The Woods, I thought maybe they were a bit too sweet and pretty for Guitar World. It includes a video of her shredding at rehearsal!

Wow wow wow! Check out Jessie’s interview in Guitar World.