As a rule, most of the pieces on “The Lucky One” have somewhere between three and five harmonica parts in the mix. “Double Lucky” is an exception, with only two harps, and I think its simplicity makes it a good place to start my series on the instruments and FX used on the record. Don’t worry–we’ll start on the more-complex stuff in the next post in the series.
“Double Lucky” is a Double Blues
“Double Lucky” is one of the hardest-rockin’ tunes on “The Lucky One.” The piece is structured as a double blues (24 bar) form in the key of C, with vamps on C between repetitions of the form. The chord changes on the first half of the form are C/C/C/C/Eb/Eb/C/C/F minor/G7/Eb/Eb. The chord changes on the second half of the form are the same, except the last two measures are on Ab instead of Eb. This form has the same harmonic rhythm (i.e. the timing of the chord changes) as a standard 12-bar blues, but the usual I-IV-V blues structure has the IV chord swapped out for a flat III chord, and the turnarounds are substitutions too. Because the traditional 12-bar blues form is so familiar and strong, the song is still recognizably a blues (and the structure of the lyrics reinforces that impression, with two repeated lines followed by a response line in each verse).
I wrote the double blues form after I finished the lyrics for the piece. (I’m finding lately that it’s a lot easier to write the music when I have the lyrics in hand, but maybe that’s just me.) I came up with the vamp lick–of which I admit that I am truly proud and grateful, ’cause it is one hard-rockin’ riff–a few weeks before the session when I was driving down Packsaddle Road in Tetonia, Idaho, jamming away on a Seydel Session Steel A harp. As soon as I played that lick for the first time, I pulled the car over, took out my iPhone, and recorded it. Before that, the tune consisted of the double blues structure, period. But that vamp upped the energy in the tune by about 5000 percent, and when we heard playback on the first take in the studio it was obvious that it was meant to be. So know how to access the voice recorder in your smart phone, and don’t let those inspirations get away from you!
Two, Count them, two harmonicas
I wanted to play a chorded harmonica part on this song similar to what a rhythm guitar might do, but it’s impossible to play C, Eb, and Ab chords on any single diatonic harmonica. This is where the Digitech RP500, or your favorite pitch shifter, comes in. I set the RP500 up for this song using Gibson GA40 amp and cabinet models for a big, gritty tone, and to that I added a pitch shifter with a shift of a minor 3rd up under footpedal control. (I could have simply used the Mod FX on/off switch on the RP500 to kick the pitch shifter in and out, and assigned the footpedal to something else, but I felt more comfortable using the footpedal.) When I play a C chord (on a Low F Suzuki Manji in this case) and engage the pitch shifter, I get an Eb chord; when I do the same thing on an F chord, the pitch shifter bumps it to Ab. Add octaves on F and G, and every chord in the form is covered.
I used the Low F harp on the vamp sections as well as the double blues. That wasn’t necessarily the original plan, but when we started running down the tune in the studio with the band, it was immediately obvious that a standard (high) F harp didn’t have the sheer power needed for the vamp lick. You can hear the sound of the low F harp on the vamp here.
“Double Lucky” rhythm harp
The only other harmonica used on “Double Lucky” is a Lee Oskar Natural Minor in the key of C, played (like the Low F) in 2nd position. That’s the harp I used on the solo, and it’s processed through the same GA40 patch on the RP500, without the pitch shifter. You can hear it here, with the rhythm harp, which plays throughout the tune. You can hear the rhtyhm harp play C and Eb chords in this sample, the latter courtesy of the pitch shifter.
“Double Lucky” rhythm and lead harps
Whenever you use two or more harmonicas on a tune, it’s important to give each of them its own space in the mix. (I’ve heard recordings where the artist chose to overdub two or three harps in the same register with the same amped tone, and it sounds like somebody falling all over himself.) The standard C Natural Minor harp is pitched an octave higher than the Low F, and that gives both harps plenty of space to do their respective things. An alternative would be to apply a different effect to each harp, but that would produce a less-bluesy sound, and I wanted something more traditional in this case. (Granted that neither a Low F or a Natural Minor are exactly traditional–those instruments didn’t exist in 1950, and you certainly never heard either one on a Little Walter recording. But the basic approach to the harps on this song is obviously all about the blues.)
Recording the parts, in studio and at home
The Low F rhythm track was recorded live with the band in the studio, using the dual XLR audio outputs from the RP500 direct to the board. The solo was recorded in my home studio, using the RP500 as the audio interface to my computer. I actually recorded a scratch solo in the studio with the band using a standard F harp, but after reviewing it I decided to switch harps for the overdubbed solo. The C Natural Minor is based on an Eb scale, and it’s better suited to the changes in “Double Lucky” than a standard F in 2nd position.
The solo is pretty complex and high-velocity. I recorded the first half in one pass, and the second half phrase by phrase to make sure it was played right, working out the lines as I went along. The mix engineer added some delay to the lead harp to give it that gee-I-like-this-big-ol’-stadium sound, but otherwise the harp parts on this song sound exactly the way they did when I laid the tracks in. That’s one of the really, really great things about recording direct with the RP500: you can be confident that you’ll get EXACTLY the same sound on every part you record with a particular patch, no matter where or when.
Two harp players is enough to do “Double Lucky” live
And that’s the harmonica story on “Double Lucky.” Two harps, one RP500 setup, lotta big tones and drive. It should be obvious at this point that this piece could be played exactly as recorded by a band with two harmonica players, one to play the Low F rhythm part, the other to play the lead. (Ideally the lead harp player can also sing.) So get together with a harmonica-playing buddy and work it out!
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