Sometimes when one has derived so much pleasure from a piece of music, the only way to go deeper is to climb up inside it and drive. And so, this is my rendition of a 1973 recording by a then 25-year old Larry Carlton, his cover of a 1968 Tom Scott piece called “With Respect To Coltrane.”

After discovering Carlton’s elegant playing via Joni Mitchell’s enthralling 1975 album, “The Hissing Of Summer Lawns,” I unearthed an earlier solo album of his called “Singing/Playing,” where clearly somebody was trying to make him into a pop star. It was hit or miss, and I doubt it sold many copies, but this Side A closing track has stuck with me ever since. It has a moody, bluesy feel, and while Carlton can be acrobatic, this one feels warm and approachable, as if one could recreate it if one wanted to.

It was not as simple as that.

It’s a standard set of minor blues changes, repeated five times and done. After the head plays through once, we hear a guitar solo both dreamy and audacious, comprised entirely of harmonics, followed by a big, searing, sloppy, swinging dick of a fuzz solo. Huge. 

Let’s talk about tone: many have chased the mystery of that Larry Carlton sound over decades and gear and endless discussion. Ultimately, his tone is simply constructed: humbucker pickups into a fender-style amp at the edge of breakup. That’s it. There are nuances that come with housing those pickups in a semi-hollow Gibson 335, and hot-rodding the Fender amp (Mesa Boogie, Dumble, Bludotone), but it really is that simple. The rest is LC's magic fingers…

As for gear, I am using a decades old Gibson 335 with a pair of ’57 Humbuckers into an original Ethos Overdrive preamp, at 18v for headroom. And that – plus a Fuzzface for the fuzz solo – is that!

As for that harmonic solo in the 2nd verse: It seemed clear enough; no fast runs, double tracked for two-part harmony. There was however a rude awakening: these harmonics are located well beyond the safety of the fretboard. The entire solo was comprised of notes located somewhere over the neck pickup! Ouch.

Next, the 3rd verse Fuzzface onslaught. How nuts is it to put a 335 through a Fuzzface? I would never think to do such a thing, but here we are. I used a classic battery-powered Fuzz Face in front of the Ethos preamp, and just dove in. 

This solo, sloppy fuzz notwithstanding, is all about phrasing. Every phrase is played with pride, confidence, economy, and purpose. Each phrase knows it belongs. Did Carlton compose or improvise it? I do not know, but I did see him play live back then, and spontaneous perfection is just what he does. 

Beyond phrasing is technique. For instance, at 1:47, we hear some standard blues rock strutting, beginning with a bend up; some rapid stuff, a bend back down. My expectation was that this was a standard 2-string figure, with the bend on the lower string and the fast fire on the higher string. But this is just not feasible, due to the need for insanely fast cross-picking; maybe Molly Tuttle could do it? Instead, the whole affair takes place on a single string! Bend up; then while holding that bend firmly in place, hit the rapid back & forth gunfire on that same string, at the higher frets; then release the tension and bend back down. Unreal. 

Finally, can’t climb in & drive only part of a vehicle, so I’ve done my best to recreate the band’s performances too: Stix Hooper’s drumming, Wilton Felder's bass, and Joe Sample’s electric piano solo. It's always good to transcribe solos, no matter the instrument. Then we recap the head, and exit through the outro.

Mastered by Tardon Lawrence at Mr. Toad's Recording: mrtoads.com

I hope this info is fun for guitarists out there; it was definitely a rewarding endeavor for me. Thanks for listening, and be sure to check out the sources:

Larry Carlton's version: https://www.youtube.com/watch?v=gRYe3UcAjLM
Tom Scott's original: https://www.youtube.com/watch?v=pNKNU9PHC6Y

With Respect To Carlton

Boredom (Lost due to Incompetence)

All sounds (except drums) come from a Crave analog synth.
The lead is passed through a fuzzface guitar pedal.

Expectations - Monosynth Version

A song about DABDA, the five stages of grief, as experienced by Tahlequah the Orca after losing her newborn.

Atlas 6 EP

DABDA

Vol. 3 is here! Thank you for listening from all over the world, nothing makes me want to create more than seeing people from the opposite side of the world than me listening to my music.

Shoutout out to the producers again! 
othreewun - On YT
engless - On YT
FUZZ FACE - On YT

Fuzzed Out Freestyle [Prod By. FUZZ FACE]

Super Sonic Freestyle [Prod By. engless]

Eternal Time Freestyle [Prod By. othreewun]

This was something I found I had done back 3-4 years ago, but never had done much with. Not really sure where to go with it now, but it was fun to play around with the drums and bass.

That's Me

Looking for Something

1962 Fender Stratocaster, Two-Rock Jet 22, 2x12 Creambacks and Ivor Fuzz Face BC183 built by Dustin Francis

Dustin Francis Ivor Fuzz Face BC183

prod. by fuzzface
feat. @p0isxn0us (shady) 
cover by @p0isxn0us (shady)

Can’t understand
Why u hate me
Did you even care,
Or just break me?

Feeling so numb
Pls just help me
Try to comprehand
Don‘t forsake me

Putting that shit
Out of my face
Smoking some weed
Looking for peace
Filling the void,
That’s all I need

Why’d you leave me cold
Leave me empty 
You treat me like a game
But bitch theres plenty
Im sick waiting round 
Feeling lonely 
All theres left do
Is blow some smoke 
Count some twenties 
Forget me 
Ice in my chest piece
Took my heart and ran
You left me empty
Cant see too hazey 
The lights are bending
Did you even care 
Stop pretending

Can’t understand
Why u hate me
Did you even care,
Or just break me?

Feeling so numb
Pls just help me
Try to comprehand
Don‘t forsake me

Did u even care feat. shady (prod. fuzzface)

Dreams about animals. Smelling the night. This is a coyote. 

Everything written and performed by Westmost Peninsula. 

[Photo by Lance Anderson on Unsplash]
      

Coyote

I have long hair. I play rock n roll. I am a hermit who plays in a Red Room

Australian in the Netherlands.
Alternative in style blending jangly guitars, mwah bass and spacey synth.
Actively writing and recording a series of solo EPs (latest #7 2024).

Let’s make music - message me to collab

Producer/Engineer/Artist - inspired by the likes of Mac Miller, MF DOOM, Kendrick Lamar, Erykah Badu, Frank Ocean, J Dilla, Tyler the Creator, De La Soul and a Tribe Called Quest

Quiet Professional©  

freakkybeats@outlook.com

Frank Wood is an amateur songwriter, multi-instrumentalist, and producer whose music lives in the space between memory and reflection. Drawing from decades of lived experience, his songs are rooted in classic storytelling but framed with modern production, creating tracks that feel both timeless and deeply personal.

From the nostalgic haze of “Time Far Away”, the aching honesty of “Here’s Your Sign” and the vivid imagery of “Bonnie’s Kitchen”, to the spiritual "Mortality" and "I'm Gone, So Long", Frank’s catalog is a mosaic of life’s moments—ordinary yet profound. His sound blends warm acoustic textures, soulful electric tones, and carefully layered arrangements, often colored with vintage reverbs, synthesizers, and analog-inspired processing.

Frank produces his work in Studio One, leaning on tools like the API 512V and SSL Six preamps, microphones such as the Nemann TLM103 and Lauten Audio FT-387, and a collection of plugins, outboard gear, and virtual instruments to capture performances that feel raw and alive. Every song carries his fingerprints—hands-on, detail-oriented, pragmatic, and unafraid to explore.

Playlists like “The Best I Could Do” showcase his versatility: heartfelt ballads, country-tinged rock, synth-driven pop, reflective folk, and experimental instrumentals. At the core, however, each track is driven by authenticity—songs that tell stories, carry emotion, and invite listeners into his world.

Frank Wood’s music is as much about looking back as it is about moving forward. Whether it’s a dusty car disappearing into the horizon or a voice echoing through a family kitchen, his songs capture the fleeting yet unforgettable moments that define us all.

New tracks tagged #fuzzface