In his cover of Elton John’s 'Tiny Dancer', a young Frusciante proves he’s more than just a talent on guitar. Like with his 2006 Bee Gees cover, Frusicante used the break to add his own spin to an iconic tune. Cover of Tiny Dancer at Pinkpop festival in 1990.Īn archived clip from 1990 shows a young group of Chili Peppers take a water break during their set at Dutch festival Pinkpop. Towards the end of the tune, Frusciante lets out a sigh of frustration as he appears to stumble on a chord, but quickly saves it with the help of his bandmates.Ħ. The clip which boasts eight million views on YouTube, sees him gently play the chords of the Bee Gees karaoke banger 'How Deep Is Your Love' and show off his ability to sing in high pitch Bee Gees style. Cover of 'How Deep is Your Love' by Bee GeesĪ 2006 audience in France saw John Frusciante burst into song in between the setlist. The six-minute clip features John and Anthony perform acoustic renditions of Funky Monk’s and Under the Bridge, with a baby-faced John showing off his craft on the acoustic guitar.ĥ. Kiedis and Frusciante play an acoustic set on a boat in Amsterdam.Īn archived interview with Anthony and John shows the frontman and guitarist talk about their trip to Amsterdam as well as a chat about iconic record Blood Sugar Sex Magik. The performance bleeds emote riffs into heavy composition, with Frusicante appearing to enter another dimension as he guides Flea and Smith throughout the insanely emotive jam. Playing a gig in Chorzów, Poland, Frusciante produces a fire guitar solo. The jam is accompanied by Flea bass slaps and Smiths signature drumming, bleeding into a softer melody. As funky as it is recorded in studio, the live rendition is that more exhilarating as Frusciante proves in this clip of a performance in Sao Paulo. The Gretsch White Falcon has picked up its fair share of admirers over the years (albeit most from a distance!) and is famously associated with several name guitarists including Neil Young, John Frusciante, Brian Setzer and Billy Duffy.One of the most infectious recorded guitar jams is the end solo of 'Dani California'. In 1971, the company renumbered the nonstereo/ mono and stereo double-cutaway versions to 75 respectively, however, in 1980 both the 75 models were discontinued with the 7595 being available only on special order.īy 1981 Gretsch had discontinued them all. The Project-O-Sonic design was a bold leap into the new-fangled world of stereo and although stereo guitars never really caught on, it was a sure sign of Gretsch’s continued ethos of progression.īy 1962 White Falcons were being shipped with a double-cutaway as standard and it wasn’t until the early 70s that Gretsch began to reintroduce the original singlecutaway version as model number 7593. In the same year, a stereo version of the White Falcon arrived with a patented system called Project-O-Sonic, designated as model number 6137. In 1958, a pair of noise-cancelling dualcoil Filter’Tron pickups were added, providing a little more in the way of sparkle and crunch to the overall tone. These comparatively harder tonewoods lend a bright acoustic resonance to the White Falcon’s natural sound and when coupled with a pair of single coil, high output DeArmond DynaSonic pickups it makes for a full, clear tone that cuts through with plenty of twang.Ĭoupled with a pair of single coil, high output DeArmond DynaSonic pickups it makes for a full, clear tone that cuts through with plenty of twang Stairstep tuners, a V-contoured headstock and a ‘G’ monogram tailpiece adorned with a V-shape reminiscent of car bonnet ornaments were all set off against a custom colour-style white finish (with more than a sprinkling of gold throughout for that aureate touch of class). In a similar vein to Fender and Gibson’s infatuation with the 1950s motor craze, the angular geometry of dream cars was strongly reflected in the White Falcon’s design. Although the Gretsch company had set up shop in Brooklyn, New York in 1883, it certainly wasn’t stuck in the Victorian era and was a notably forwardthinking firm with regards to aesthetics. It was appearance as much as anything that made the White Falcon stand out from the crowd. The angular geometry of dream cars was strongly reflected in the White Falcon’s design Originally intended as a one-off display centrepiece for the 1954 NAMM trade show, it ended up turning so many heads that by the following year Gretsch had put it into regular production, designated as the model 6136. The jewel in Gretsch’s crown came in the form of a guitar called the White Falcon.
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