Walsh would later record a "Funk #50", which was included on his 2012 solo album Analog Man. The only thing we really added was the percussion middle part, which the three of us actually played, putting some parts on top of the drums, but that's the three piece James Gang, and that's the energy and kind of the symmetry we were all about." It was a real good example of how we put things together, bearing in mind that it was a three piece group, and I don't think that there was any overdubbing. Walsh explained the writing of the song, "I came up with the basic guitar lick, and the words never really impressed me intellectually, but they seemed to fit somehow. The song was a moderate success upon release, peaking at 59 on the Billboard Hot 100. The song featured as the first single off the group's second studio album James Gang Rides Again (1970). The song got its title as a sequel to "Funk #48", a song from Yer' Album, their first LP. 'Funk 49' is a song written by Joe Walsh, Jim Fox, and Dale Peters, and recorded by American hard rock band The James Gang. Most of the song is a vehicle for Walsh's guitar performance. The lyrics focus on a wild girlfriend the singer cannot tame. Much of the song is instrumental, drawing from Joe Walsh's guitar, Dale Peters' bass work, and Jim Fox's drumming. "Funk #49" is 3:54 in length, though it only has two verses. The song was a moderate success upon release, peaking at #59 on the Billboard Hot 100. ![]() ![]() Best Sellers Rank: 34,398 in CDs & Vinyl ( See Top 100 in CDs & Vinyl) 1,606 in. MCA Special Products Funk 49 is a good sampling of the James Gangs classic years with Joe Walsh. Volume at 8 and Tone at 5 (using the front panel’s 1-12 designations) works best."Funk #49" is a song written by Joe Walsh, Jim Fox, and Dale Peters, and recorded by American hard rock band The James Gang. Product Dimensions : 5 x 5.75 x 0.45 inches 2.95 Ounces. ![]() TONE TIP: The Pro Junior IV is bigger and louder than a blackface Champ, so don’t overdo the controls. Having compared the sounds of a tweed and blackface Champ when playing the song, I can attest that it’s definitely a blackface, as the tweed’s midrange is too prominent and the bass is too loose, while the blackface has the perfect treble sparkle and low-end spank. Walsh’s Tele tone on Funk #49 sounds particularly raunchy and percussive due to the guitar’s lowered action and Walsh’s use of a light-gauge nylon pick. Lucy added that her father was the one who got her in the door with her record company, but her talent was the reason she was able to make an album. Teles featured either a 'blend' circuit until 1952 or a neck bass/neck with tone control/bridge without tone control circuit from 1953 until 1967, so the Tele was most likely from 1959 or earlier as Walsh prefers Teles with maple necks - and he referred to it as “old.” When Howard mentioned Joe’s daughter, Lucy, was a musician, she came into the studio to report she had a CD of her own coming out next spring. Perhaps it was actually a 1964-’67 Vibro Champ, which is identical to the Champ with the exception of its added tremolo circuit.ĭetails about the exact year of Walsh’s Tele are unknown, although in the 1972 interview he said it was “old” and he had modified the pickup wiring to provide “modern” bridge/both/neck settings. Walsh’s Tele tone sounds particularly raunchy and percussive due to the guitar’s lowered action and Walsh’s use of a light-gauge nylon pickĤ0 years earlier, in a 1972 Guitar Player interview, Walsh said he used a 'Vibroplex', but this was probably an inside joke as Walsh is a ham radio enthusiast and a Vibroplex is actually a Morse code key. Verse 1 I sleep all day, out all night I know where you're goin' I don't think that's a-actin' right You don't think it's showin' Guitar Solo Verse 2 A-jumpin' up, fallin' down Don't.
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