...Peter is an extraordinary guitarist. I know that sounds weird coming from me, I'm usually putting him down, slagging him off or otherwise trying to pump up my ego whilst deflating his. But when it comes to mastery of his chosen instrument, Peter is second to none. In all honesty, it's a true delight to watch him play. The way he carefully but sensually lifts his strat up onto his lap, like a delicate lover. The way he tunes it's strings, gently plucking and twisting as if beginning the musical foreplay. The way he grips the maple neck, firmly but sensually, as if to show his baby that he is in charge, but that he wants nothing more than for her to sing with delight. And then he slowly turns the volume and tone controls, engages the acoustic simulator, flicks the pick-up selector whilst positioning his fingers and then down, down comes the plectrum, it hits the first string perfectly and continues on, a chord begins to swell and by the end of the stroke the sweetest most beautiful symbiotic combination of tones rings out. The hair on the back of my neck rises, my eyes sting with the emotion, the shear beauty of the moment is breath taking. And then it is over. I stop the recording and that single perfect chord is captured forever in millions of ones and zeroes.
And there's the problem right there, one chord, one f#'king chord, that's all he can bloody play and guess who has to w#nking-well cut, paste and pitch shift that chord into a whole bloody song, yep, you've guest it, muggins here. He can't even play the damn thing in time, I have to manually correct that too! Sheesh, what a tosser.
Having said that, after I had worked my digital wizardry on Peter's chord Big Naturals History Museum is actually starting to sound pretty good. If I can be arsed I might upload a little snippit for you to listen to. No vox yet I'm afraid.
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