Once it took that shape, we were absolutely influenced by Highway Call and not afraid of going for that authentic gangster country vibe, which is the best. “Waiting on a Song” originally had a dreamier, big rock flow, but I gave it different treatments to see what works, and it became clear it should be an up-tempo, gliding, uplifting song. That music has a lot of character, with good honest, meaningful songs. I was passionately interested in having pedal steel on a few songs to capture some authentic old country-rock sounds. Some of the songs recall Highway Call, your dad’s 1974 solo album, particularly the first single, “Waiting on a Song.” Was that a conscious point of reference? Johnny played his 2000 Gibson ’62 LP/SG Custom Shop, which he calls Stormy, my 335 and a 1960s Guild S-50 Jet Star from Derek’s collection, running through a 1960s Silvertone 1448, which is also Derek’s and a mid-’60s Fender Vibrolux Reverb. The only effect is a Dandrive Secret Engine fuzz pedal that J.D.
I used my mid-’60s Fender Deluxe Reverb and late-’50s Fender Tweed Deluxe.
I also played my 1961 Gibson 335 and a 1930s Gibson L-00. My main guitar was what I play the most onstage, the number-one prototype of my dad’s Gibson goldtop, which they made in 2001. What were your electrics and amps? And did you use any effects? It sounds pretty clean. Duane Betts' solo album Wild & Precious Life is out now on Royal Potato Family (Image credit: Royal Potato Family)
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