What an absolute treat.
They eschew most of the 80s/90s "hits" for deeper (and less vocally demanding) tracks these days, but they still bring a remarkable amount of tightness, musicality and intensity for a trio of guys in their 60s and 70s with no backing tracks or fancy light shows or whatever.
Ty Tabor is just a stupidly talented guitar player, and it just remains humbling that he crushes night after night with a Goldtop Les Paul into a super cheap solid-state Orange head into an Orange 4x12 close miced with an SM57 and....pretty much nothing else. He switched on a vibe pedal for a couple of songs, but otherwise just used pickup and volume knob changes for a good range of tones for the entire show. He didn't even switch to the clean channel for clean songs!
That live tone was ridiculous too, BTW. Midrange-rich, detailed and full of musical-sounding feedback and sustain pretty much any time he let a note ring out. Sounded like a perfect fusion of Brian May and your favorite modded Marshall cranked.
I'm not running out to buy an Orange CR120 head because I know I won't sound anywhere near as good, but it does put into perspective the incessant back-and-forth about tone hunting, "tube realism" and whatever other minutiae we get consumed with daily.....
They eschew most of the 80s/90s "hits" for deeper (and less vocally demanding) tracks these days, but they still bring a remarkable amount of tightness, musicality and intensity for a trio of guys in their 60s and 70s with no backing tracks or fancy light shows or whatever.
Ty Tabor is just a stupidly talented guitar player, and it just remains humbling that he crushes night after night with a Goldtop Les Paul into a super cheap solid-state Orange head into an Orange 4x12 close miced with an SM57 and....pretty much nothing else. He switched on a vibe pedal for a couple of songs, but otherwise just used pickup and volume knob changes for a good range of tones for the entire show. He didn't even switch to the clean channel for clean songs!
That live tone was ridiculous too, BTW. Midrange-rich, detailed and full of musical-sounding feedback and sustain pretty much any time he let a note ring out. Sounded like a perfect fusion of Brian May and your favorite modded Marshall cranked.
I'm not running out to buy an Orange CR120 head because I know I won't sound anywhere near as good, but it does put into perspective the incessant back-and-forth about tone hunting, "tube realism" and whatever other minutiae we get consumed with daily.....