Photo by JJ Koczan

You’ve been a big user of mid ’70s Gibson Les Paul Customs plugged into ’70s Marshall Super Leads and Orange OR120s or Tiny Terrors for a while. Did you use your old recipe or try out a new setup for those old tones?
Everything is still pretty simple and old school by using a JTM45, but the other amp I played through mostly was a Marshall JCM900. I felt like my tone was getting a little too clean, so I tried to dirty it up a little bit with a different amp and gain structure because I don’t use overdrive or distortion pedals.

The only reason I actually decided to try out a 900 again was because Laura Pleasants from Kylesa told me Buzz [Osborne] from the Melvins was playing one when those two bands played together. I plugged one in at my local shop, Action Music in Falls Church, Virginia, and it was exactly what I was looking for.

And for guitars I actually used an early ’90s Les Paul Jr. with a single P-90 in the bridge. Again with the different guitar, I wanted to get a dirtier, more aggressive tone and the P-90 sound was a bit more in your face, immediate, and heavier than my usual Les Paul tone—especially with the tone knob wide open—which seemed to fit the album’s vibe a bit more.

Between Strange Cousins From the West and Earth Rocker, you guys re-recorded some acoustic tracks from the Blast Tyrant-era for Basket of Eggs. And on Earth Rocker there’s also an acoustic element in the form of the eerie song “Gone Cold.” Coming off those acoustic, stripped-down sessions was that something you guys wanted to try for this album?
“Gone Cold” was based on an old, slow blues song that JP (Jean-Paul Gaster, drummer) was jamming a lot during the 2012 tour. We copped the vibe from that slow song and just added some funkadelic parts with the deep reverb and washing delays. I’m playing my early ’60s Gibson Folksinger acoustic during that song while Neil (Fallon, vocals and guitar) plays the electric parts. For the solo, I really wanted it to sound like a Willie Nelson-in-the-desert vibe.

Speaking of heavy, The Transnational and Clutch vibe really shines in “Unto the Breach,” which is clearly your heaviest guitar tone on the new album. What did you use to goose your tone even more?
That song is something we’ve been jamming on and messing around with for years. We just never really could finish it or—even in its infancy—find a spot for it on an album, so it was just shelved.

Tonally, I think what you’re hearing during the main riff is me playing the Les Paul Jr. through the JCM900 with a half-cocked wah pedal.

You’ve been a real big proponent of the wah and used several different models over the years. What did you use on Earth Rocker and what do you look for in a good wah pedal?
Teese RMC1 Real McCoy Custom is the one I’m currently using and that also made it on the record. I like pedals that are simple—the less tweakability the better. I like wahs that can be kicked on and sound amazing straight out of the box and the Real McCoy custom RMC1 has been doing good for a while.

You’ve said that you tend to break wahs quite often. Is that still the case?
Oh yeah [laughs]… I think I’ve had this one for a few months now. For a while I was busting them every two to three weeks. I tend to bounce back and forth between the Teese wahs and the Custom Audio Electronics MC404 wah—those seem to be the best-built wahs for what I do to them.

Do you think the wahs are built unsatisfactory or are you the one to blame with your stomping?
[Laughs] I’d like to think other guitarists have issues with their wahs, too, but I definitely think it’s a “me” problem. I’m just too abusive so I should just get an auto wah or a rackmount version.

“Oh Isabella” features two great pitch-shifting, octave-driven solo parts over top more standard-fare Clutch riffage. Similar tones show up during the last minutes of “The Wolfman Kindly Requests….” What effects did you use to achieve those tones?
I used the Electro-Harmonix Micro POG for the octave, pitch-shifting funk parts in conjunction with a Line 6 DL4. This octave pedal is a recent addition to my pedalboard. I like to play it during slower, more funk-based solos just to add a bit of a different texture than a wah, which I would normally use on that style of improv part.

How did you get the reverse effect in the second solo?
Yeah, that’s where the DL4 really comes into effect. For that portion of the song, I flipped it into the reverse mode, played with the tweak and tweaz knobs. That part also is played with the Micro POG, too. I think that’s probably my favorite solo on the entire record because it seems to flow very well with a very lyrical nuance to it. I personally think my best work is done when I play within a theme like in “Gone Cold” and the old West feel or follow the song’s groove like in “Oh Isabella.” I’d rather play those type of solos rather than just shred as fast as I can … I’m not a shredder nor do I ever want to be.


Early ’90s Gibson Les Paul Jr.
Early ’60s Gibson F-25 Folksinger Acoustic

Marshall JCM900
’70s Marshall JTM45
Orange 2x12 with Celestion Vintage 30s
Marshall 1960A 4x12 with Celestion Vintage 30s

Electro-Harmonix Micro POG
Line 6 DL4
Teese RMC1 Real McCoy wah

Strings, Picks, and Accessories
Jim Dunlop Heavy Core .012–.054 strings
Jim Dunlop Tortex .73 mm picks

When writing or coming up with riffs that accompany Neil’s harmonica parts like in “D. C. Sound Attack” on Earth Rocker or earlier pieces like “Electric Worry,” how do you configure where you’ll play on the neck and what you’ll play? Are there any tonal considerations you consciously make when tracking songs he plays harmonica in?
For “D.C. Sound Attack,” we didn’t add the harmonica part until last. It was something we decided to do once we recorded most of the song and felt it would go real well with the bluesy-rock vibe of the song. I think figuring out how to tonally set up my amp or how or where I’m going to play my guitar alongside Neil on harmonica is more of a factor live. And, we actually toured in the mid-2000s with a harmonica player, so it was a factor for many tours, but still, the goal is real simple—just don’t step all over each other and avoid crossing into each other’s frequencies especially during the other guys’ solos.

And because of that, tonally, I wanted to get a more classic, raw overall sound that I haven’t had in recent years—I set my sights on Transnational- or S/T-era tones.