You have been an Orange player for a long time now, can you tell us a bit about your history and experience with the company?

オレンジのプレーヤーになって長いのですが、わが社との出会いと経歴を簡単に教えて貰えますか?
Wata: Boris has been active since 1992.We have been touring through USA, Europe, Asia, Oceania and various places. When we first started, we were influenced by the 1960-70 psychedelic and hard rock music. Often, we watched the artists we adored; many were using Orange gear. I was struck with the cute looks and the fat, warm sound. When I got to be interested in Orange amps, the original vintages were already expensive(as they are now). When OR120 was reissued in the early 1990s in Japan, I was able to purchase a half stack. I have been obsessed with Orange sound ever since. I keep collecting various vintage heads, cabinets, and current lineups

Borisは1992年から活動しています。日本だけでなく、アメリカ、ヨーロッパ、アジア、オセアニアなど、様々な国をまわっています。結成当初は1960~1970年代サイケやヘヴィロックを良く聴いていました。そのあこがれのミュージシャンの映像を観るとOrangeを使っている人がいっぱいいて、見た目のかわいさと、太く暖かいサウンドに惹かれました。私がOrange Ampに興味を持った当時、既にオリジナルのヴィンテージはとても高価(今はもっとですね)でしたが、1990年代半ばにちょうど日本国内でもOR120のリイシューが発売になり、ハーフスタックを購入しました。そこからOrangeサウンドの虜になって、以後ヴィンテージのヘッドやキャビネット、現行品までを色々手に入れています。

You’ve been playing both the OR120 and the Rockerverb 100 paired with the PPC412 – what do you look for in an amp, and what do you like about these two?

OR120とRockerverb 100PPC412に繋いで使用していますがアンプに求めていることは何でしょうか?又、この2つのどこが気に入っていますか?
Wata:
Very rich mids and lows, powerfulness, simple operation, cool looks of a full stack. It is easy for me  to create non-distortion sound with OR120 or Rockerverb 100. Also these amps work well with my Les Paul and the fuss pedal that use. We have just released a new album “NO” on July 3. The world has unexpectedly changed to the extreme. We recorded this album wishing that it will comfort all the listeners. There are many fast―tempo tracks. Orange cabinets played a very important role in the recording studio. The Orange cabs were able to maintain the core tonality with different amp heads

中低域の豊かさ、パワー感、シンプルな操作性。フルスタックでの見た目の格好良さ。OR120やRockerverb 100は歪まない音作りがしやすいのと、私が使っているレスポールやFUZZペダルとも相性が良いです。ちょうど7/3に”NO”という新しいアルバムをリリースしたところです。こんな世界の状況になってしまって、エクストリームだけど、聴く人を癒すような作品になってくれたら良いなと思いながら作りました。テンポの速い曲が多いですが、レコーディングではOrangeキャビネットがとても重要になりました。色々なヘッドを使っても音の芯をしっかり残してくれます。

How would you describe the Boris writing and creating process?

Borisの作曲・創作のプロセスをどう説明しますか?
Wata:
Basically, a song starts when we get inspired from jamming around and improvising. We record simultaneously when we are having jam sessions. The pieces are then put together and edited to become a song. The instruments, pedals, Orange amps and cabinets all play significant roles. The expression of the song gets the member more excited and lead us to the direction it ought to be. We also strive to input our experience from the touring,  the faces from audience that we saw from the stage, and the feeling we had then.

基本的にはJamやインプロビゼーションを出発点にして作曲は始まります。いつもスタジオではジャムセッションと同時進行でレコーディングが行なわれ、それらが編集され曲になっていきます。楽器、ペダル、もちろんOrangeのアンプやキャビネットも楽曲を生み出すのに重要です。音の表情に導かれてメンバーの気持ちも高揚しますし、楽曲の向かうべき先を定められます。また、ツアーに出て吸収したこと、ステージから見えるオーディエンスの顔、フィーリングが作曲のインプットになって曲作りに繋がっています。

How have you as a band been dealing with the lack of live music in recent times, and what do you think about bands going digital in terms of live streams etc?

ライブが出来ない現状をどのように対応していますか?又、ライブストリームのようなデジタル志向をバンドとして考えていますか?
Wata:
Being able to touch the bodies of audience with huge sound is extremely important to our shows. You cannot feel the music with your body through live streams. We may consider releasing a video product after editing the live footages from the past. But I am skeptical about live streaming. From the stage we cannot make eye contacts with the audience. I can understand that the current (pandemic) situation is forcing many artists to go online and take more actions. But we are worried it will possibly end up destroying valuable culture of live music. So we are looking at it very carefully.

私たちのショウでは大音量でオーディエンスの身体に触れることがとても大事な要素です。 体全体で感じてもらうこと。ライブストリームではそれが不可能です。過去のライブ映像を編集して「映像作品」として公開することは前向きになれますが、ライブストリーミングに関しては懐疑的です。ステージからオーディエンスと目が合わない事にも問題があります。こういった状況だからアクションを起こさなければならないのも理解していますが、その行動が大切な文化を破壊することにもなりかねません。とても慎重に考えています。

Wata’s gear:
Rockerverb 100 MK III
PPC412

We are super excited to present ‘Marcus King | Four of a Kind | Live from Nashville’. This special series of live shows will be broadcasted over at marcusking.com every Monday at 9pm EST starting the 13th of July, running through to the 3rd of August. Each night will see The Marcus King Band with different guests, such as Mastodon’s Brent Hinds and bluegrass musician Billy Strings.

Proceeds from the shows will benefit MusiCares, and Spotify COVID-19 Music Relief project will match donations, up to a collective total of $10 million. With live music at a halt for the time being and foreseeable future, we are very excited to be able to bring Marcus and friends directly to your living room, and all for a good cause! Get your tickets here.

Welcome to the Orange family, ladies! You’ve been around the Manchester scene for a while now, can we get a bit of background on the band for those new to you?
WITCH FEVER:
We’re Witch Fever, a doom punk band from Manchester. We met during uni and have been a band for four years, with a line up change after the first year, and it’s been the four of us, Amy on vocals, Alisha on guitar, Alex on bass and Annabelle on drums ever since. When we started we knew we wanted to be heavy, and wanted to create music that empowered us and other people. We all have a very varied music taste which comes together to make the Witch Fever sound. Here’s some of the stuff we’re currently listening to:

Amy – Show Me The Body, Amyl and the Sniffers, Surfbort, Angel Olsen, Ho99o9
Alex – Boy Harsher, Slowdive, Protomartyr, Savages
Alisha – Nirvana, Grimes, PJ Harvey, Warpaint, Hole
Annabelle – Velvet Underground, Violent Femmes, The Plastic People of the Universe, Moses Boyd, Peaches, Sonic Youth 

One of our musical highlights so far was headlining House of Vans in London for Venn Records, particularly because V Man, the bassist for Slipknot, was there! We also played Manchester International Festival on a stage in front of the town hall which felt very special. Last year Alan Mcgee of Creation Records produced our singles Bezerk(h)er and The Hallow which was brilliant and something we’ll never forget.

Obviously the whole music industry’s come to a bit of a stand still lately with gigs, touring and practicing together off the table, how have you been keeping creative and connected?
WITCH FEVER:
We’ve been recording demos to send over to Gomez (Orgone Studios) who we’re going into the studio with in July to record an EP, so we’ve mostly been focusing on writing new music. Outside of music we’ve been reading a lot, making art, cooking and Alex has played lots of Animal Crossing.

Exciting times with new music ahead, and that’s awesome you’re recording with Gomez! How did that all come about?
WITCH FEVER:
We were connected with Gomez through a label we’re working with at the moment (yet to be announced…) so we’re very excited for whats to come! We’re recording an EP for now, but there’s talks about an album afterwards.

Of course, we gotta ask some Orange! What’s your history and experience with our amps?
Amy:
My first memory of Orange comes from when I was a child, my Dad’s been in bands since I was young and plays bass through an Orange amp to this day. It always stuck in my head because of the colour, being the brightest thing in my parents bedroom. As a teenager I also developed a love for Cancer Bats and Slipknot, so there’s that association too!

Every month we reward one lucky winner with a free pair of O-Edition Headphones. All you have to do is post your Orange rig to any qualifying social media using the hashtag #OrangeRigOfTheMonth. Please note we are not accepting entries via email.

What’s your name, age, occupation?
Robbie Bergeron, 33, Acoustic Engineer

How’d you first hear about Orange?
Through friends in high school

What do you use your rig for?
Recording, playing out, jamming and writing at home

How much did this rig set you back?
Over $10k

How often do you update the rig?
Always adding

What gear is in this rig?
1972 OR120, Rockerverb 100 MKIII, Matamp GT120MV, 3x 2018-2019 PPC412s, 1975 4×12, various pedals from EQD, Fuzzrocious, Death by Audio, Frost Giant, BAT, Boss, and Line6

What guitar do you use? Why?
Gibson Les Pauls and Dunable

Any purchases your regret in this rig setup and why?
All regrets have been sold haha

Help Orange Amps Find Rare 1970s Effect Pedals

Orange Amplification manufactured the popular Phazer, Sustain and Distortion pedals at their UK Bexleyheath factory between 1977 to 1979. Probably one of the coolest things around at the time, these first ever Orange effects pedals are now very rare.

After seeing Orange users share images of various pedals, fans over at Orange’s Facebook page have requested Orange reissue these. During the COVID-19, like many people, Orange has been doing some housework; decluttering, sorting out, tidying up, clearing out. Mick Dines, who has been with the company since the early 70s, found the original, tea stained, schematics for the Phazer, Sustain and Distortion pedals and passed those onto the company’s current designer, Ade Emsley. However Orange have not been able to find the actual physical pedals and need help to get these reissues right.

The company is looking to reissue the iconic 1970’s pedals, with upgraded internals, but they need to find examples of the actual pedals to gather information about the exact size and dimensions of the original pedals and learn from the owners what made this special to them.

Is there anyone out there who owns and still uses a much loved 1970’s Orange Amps’ Phazer, Sustain or Distortion effect pedals? If yes, please contact Orange via Facebook, Twitter, Instagram or email them through their website https://orangeamps.com/contact/. Orange would love to talk to you.

Especially in the music industry, a list of every employee’s favorite album can tell you a lot about a company. Will you think we’re all a bunch of lame-o’s? Will you read this list and think to yourself “wow, those Orange folks are pretty dang cool?” I have a feeling you’re going to be fairly surprised by some of these picks. I encourage you to try this with your own company. There’s a lot to be learned about your co-workers and it’s a great tool for being overly judgmental and critically discriminatory! – Alex (AR Manager)

Alex Auxier (Artist Relations Manager) – Archers of Loaf “Icky Mettle”

Jane Whiteford (Financial Controller) – The Beatles “1967-1970 (The Blue Album)”

James Garza (National Sales Manager, USA) – The Church “Starfish”

Danny Gomez (Consultant/OMEC Product Manager) – Queen “A Night At The Opera”

Charlie Cooper (Marketing Director) – Radiohead “The Bends”

Derron Nuhfer (Operations Manager, USA) – The Who “Live at Leeds”

Madelin Pupillo (Accounting Manager, USA) – Sade “Lovers Live”

Toshi Matsumura (Asian Business Development Manager) – The Beatles “White Album”

Mick Dines (Old 70’s Git/Long time Employee) – Yes “Close to the Edge”

Tres Morgan (Warehouse Team Lead, USA) – NOFX “The Decline”

Nicholas Taft (Logistics Specialist, USA) – Elliot Smith “Figure 8”

Gary (Asian Sales Manager) – Iron Maiden “Number of the Beast”

Ella Stormark (Artist Relations/Content Strategist, UK) – Wishbone Ash “Wishbone Ash”

Zak Ford (Sales Manager, UK) – The Beach Boys “Pet Sounds”

James Deacon (Sales Director) – Stevie Wonder “Talking Book”

John Denzil Dines (Product Demonstrator) – Dire Straits “Brothers In Arms”

Andy Cooper (Consumer Division) – Iron Maiden “Live After Death”

Harry Plant (Graphic Designer) – High Contrast “Confidential”

Kaelin Tauxe (Logistics, USA) – Warren Zevon “Excitable Boy”

Michele! Lovely to chat to you, and even more so to welcome you to the Orange family. Can we get a bit of an introduction for our readers?
Michele:
I was born in Trinidad – Port of Spain. We were very close as a family, living together with our uncles, aunts, cousins and grandparents. We later we moved to New York and lived in an apartment in Queens, Astoria for six years. After changing schools numerous times as a kid growing up and our parents working a number of jobs to survive, my dad left to make a life for us in London where we have been settled ever since. This was also the birthplace of our band ‘The Magic Numbers’. Music was always a big part of our upbringing, country music was very popular in Trinidad and our family would listen to old Patsy Cline, Hank Williams, J.Cash, Guy Clark records, and my brother Romeo (The Magic Numbers’ singer) and I were struck by the power these songs had over our family. Many a night was spent listening, singing and crying along to those songs.

Are there any bands or artists that stick out to you as an early influence?
Michele: As a songwriter I’m influenced by a lot of singer-songwriters Joni Mitchell, Emmylou Harris, Neil Young, John Prine, Ferron, Conor Oberst, etc… I also love bands like Fleetwood Mac, Radiohead and Beach Boys. As a bass player and musician I’m obsessed with the groove and melody, it has to move and it has to sing! I’m inspired by the lines of Carol Kaye, Colin Greenwood, and all those James Jamerson Motown and Ron Carter Jazz records, as well as a lot of AfroBeat jamming to Tony Allen, Fela Kuti grooves and Reggae too… I listen to and inspired by a lot of music, learning is favourite thing about being a musician. 

Can you tell us a bit about The Magic Numbers?
Michele: The band was formed after moving to London and meeting the Gannons, Sean (drummer) & Angela (singer/keyboardist). Romeo & Sean started a band called ‘Guess’ and together with other musicians and singers worked the London circuit playing gigs, sending out demos and rehearsing in our mum and dad’s front room, which was turned into a studio with egg boxes and mattresses on the walls, all covered with ply board. Eventually the asked Angela and myself to join the band, and we started writing different songs and that’s when we became The Magic Numbers. We built up a core following before the days of the internet by playing so much, people started talking about us. Before we knew it, word of mouth had led us to selling out The Forum with only a 7inch single being released.

We’ve been fortunate to tour and share the stage with so many bands we admire. We supported Brain Wilson and got to sing ‘Love & Mercy’ with him on stage. Toured around the States with Flaming Lips & Sonic Youth, Bright Eyes, Rufus Wainwright, U2, The Who and many more. One of our ‘dream come true moments’ was getting to open up for Neil Young & Crazy Horse around Germany, watching them at the side of the stage every night hanging out and shaking hands with Uncle Neil. Ha! I’d say we were pinching ourselves a few times. We released ‘Outsiders’ our fifth studio album in 2018 and continue to tour that record… This year is our 15th year anniversary of our debut record, and there’s always plans for making new music together. Romeo is doing a lot of production work and collaborations writing for and with artists too.  

You’ve also released a couple of solo albums, the latest one being in 2016 – are you working on anything new for yourself?
Michele: I am indeed! I’m currently at the end stages of recording my third solo album set for release either at the end of this year 2020 or the beginning of next… It’s a record I’m really proud of and can’t wait to share with everyone. I write all the time and have a few other solo records under my belt. It’s just grabbing the moments to get into the studio to record them all. I also do many collaborations with artists and co-write too. You can find my bass playing on a few records out there Rowan Rheingans ‘The Lines we Draw Together’ / David Kitt ‘Yous’ / guitars, bass and vocals for O’Hooley & Tidow ‘Shadows’ & a recent co-write and musical collaboration with Charlie Dore on new album ‘Like Animals’ set for release this year. In 2019 I got the opportunity to perform in the Danny Boyle, Richard Curtis movie ‘Yesterday’ and play bass and sing on the Abbey Road Studio recorded soundtrack – reinterpreting those classic Beatles’ songs. 

Wow, that’s so awesome! I’d love to hear more about how the ‘Yesterday’ opportunity came about?
Michele: I was asked by an amazing producer/musician friend of mine, Adem. He was helping to MD the project and put together ‘Jack’s (Himesh Patel’s) band. Composer Daniel Pemberton, director Danny Boyle and writer Richard Curtis (all these insanely talented people I admire and am inspired by) were looking for something special/badass on stage for the movie. It was all a bit a dream… Not only that I couldn’t imagine up something like this in a million years, but it seemed to happened so quickly and intensely I couldn’t quite believe it. I was on tour with my band The Magic Numbers, and then off to shoot these iconic movie scenes. One of them at midnight, playing bass on stage at Wembley ‘fucking’ Stadium!! Before shooting begun we spent some pretty amazing days recording the soundtrack at Abbey Road Studios where I got to play different versions of all those McCartney/ Lennon ‘Beatles’ classics. So yeah… a total once in a lifetime moment, I sometimes lie in bed thinking did this really happen. I also requested an Orange backline for the movie when I played.

That must have been pretty surreal, what an opportunity! So cool you used Orange as well, which leads me to my next question! What is your history and experience with Orange?
Michele: It’s been a long time since my love affair with Orange began, I remember rocking out onstage – think it was in America, maybe even SXSW in Austin. There was an Orange backline for the gig, I plugged in and never looked back… It looks so fucking cool too. My amp is a cherry red version AD200 MKIII head with an OBC410 & OBC115 cabs. As far as experiences go, I’ve only had great experiences with Orange and the team of people. They all love what they do and they do it with care and genuinely get it, from the musicians side of things. I’ve been using Orange almost since the beginning of the band now. Whenever we’re on tour and I’m unable to bring my own gear I always request Orange.

What do you look for in an amp?
Michele: Particularly in a bass amp, I’m looking for clarity, punch, depth and warmth. I have to feel the vibrations through my body and still be able to make out the melody lines I’m playing, it’s really integral to our band’s sound and the hook lines in our songs. Some amps lack the depth and warmth, it’s either too harsh and has a short attack… I hate that. I move around a lot on stage with the band and I want to be able to feel the sound is moving, grooving with me. Orange amps are the only amp for me. 

What would be your advice to people aspiring to play?
Michele: Take your time, don’t force it… Work out what you like and when you do. Fall in love with your instrument, form an unhealthy relationship and become obsessed with it. Wake up next to it, fall asleep playing it, tell your friends you can’t go out and instead enjoy the calluses forming on your fingertips. I remember playing my bass over and over at all hours of the night learning to sing and play at the same time… I wanted to be able to do both things because I love singing too. I wanted to do them both at the same level of badass!! I was addicted… You’ve gotta love it, enjoy, get frustrated, push yourself and take the time to lose yourself with it. Music and your instrument will always be there for you… Once everyone’s asleep it’s waiting to be played and written on. It’s the perfect little secret.

Heavy Temple at Psycho Las Vegas by Dante Torrieri

Nighthawk: My history with music goes as far back as I can remember. My parents had a pretty diverse record collection and they encouraged me to play early on. I started on piano and eventually moved to cello as a classically trained musician, though admittedly I hated practicing. I was a music major for a year and then realized I just wasn’t cut out for it. I dropped out, bought my first bass and discovered that playing it came much more naturally to me. I was at my friend’s house getting stoned and he put on Black Sabbath’s first album (for those who are wondering, yes, I didn’t hear that record until I was 20). That’s when I knew what I wanted to do. I also make flyers for our shows, and had made a bunch for our tour that just got postponed. I just really enjoy doing anything creative when it comes to music, be it writing, playing, making flyers, just experiencing it in any way possible. You can check out my flyers here.

What can you tell us about your band Heavy Temple?
Nighthawk:
I found myself without a band in 2012 and was rather depressed. I went through the “I’m gonna sell all my gear and quit music forever” phase. Then one day I just sat in the basement and started recording a few riffs that had been kicking around in my head. Fast forward to 2 records, 6 lineups and 8 years later. I feel like we’re really starting to hit our stride as far as live performance and collective writing. We all have different desert island records but also have a strong foundation in heavy rock. Our personal influences span everything from punk and black metal to psych and doom. The Sabbathian overtures on the first two records are obvious but not directly intentional. With this third record, you’ll hear more vibes like Black Angels, Queens of the Stone Age, Acid King, if I had to put a finger on it.  We were set to release that this year on a label, but since the world is ending we might just put it out ourselves.

Is there any artists that stands out as an influence to you?
Nighthawk:
I always find myself struggling to answer this question succinctly. If I’m naming bass heroes, I’d say Nick Oliveri (as bassist for Queens of the Stone Age), Bootsy Collins, and Lemmy. The bass playing I enjoy the most is groove based and more complex than you think, like Captain Beyond, early Scorpions, Grand Funk. Overall I’m influenced by a lot of things. Basically whatever sounds good to me. Could be High on Fire, could be Interpol. Could be Tchaikovsky. 

You recently got the OB1-500, how are you getting on with it? Have the neighbours complained yet?Nighthawk: Oh. My. God. I can’t believe I haven’t played through this before. The tone that I’m able to get straight out of the head is insane. Honestly it’s a real game changer for me. The fact that it splits the signal so you can dial in the clean sound before sprinkling that distortion on top is great. And if we’re being honest I like the easy to discern images on the face plate for people like me who sometimes have one too many shots of tequila before playing. As for our neighbors, they’re actually pretty cool. One keeps asking when we’re putting out a new record, so we got that going for us.

You also just released a solo album, what can you tell us about it and the influences behind it? 
Nighthawk:
Well, I love Italian horror movies and film scores. I also really enjoy the process of composing, so the album I just released, “The Dimensionaut” (listen here), is really an homage to all of that. It’s nearly a decade of music that I’ve wanted to put out for the longest time, so I figured I’d just go for it. I dig what you can accomplish with synths. There’s so much atmosphere you can achieve. My favorite tracks have a sort of ethereal synth sound with a massively wet reverb guitar track over top. We’re also releasing a split Funkadelic EP on Riff Merchant Records with our friends from Wolf People in a couple of days on the 31st of May which we’re excited about.

People love censorship and telling other people what they can and cannot do (they loooove it). There is of course, a strong line of strong censorship in music, and below I’ve picked a selection of songs that were weirdly enough too much to take at the time of their releases.

The Beatles – I am the Walrus (1967)

Wow, we always talk about David Bowie reinventing himself, but what about The Beatles? From 1963’s ‘I saw her standing there’ to ‘I am the Walrus’ just a mere four years later in 1967, so trippy! 
Lyrically you’re almost torn, are these the ramblings of a madman of the work of a genius? Both, maybe? Despite the song being incredibly inoffensive throughout, it was thought by some that it was simply too sexual:

“Yellow matter custard
Dripping from a dead dog’s eye
Crabalocker fishwife, pornographic priestess
Boy, you’ve been a naughty girl, you let your knickers down”
‘Pornographic priestess’ & ‘you’ve been a naughty girl, you let your knickers down’ didn’t cut it with the squares.

Loretta Lynn – The Pill (1975)

“All these years I’ve stayed at home
While you had all your fun
And every year that’s gone by
Another babys come
There’s a gonna be some changes made
Right here on nursery hill
You’ve set this chicken your last time
‘Cause now I’ve got the pill”

Hell yeah to Loretta Lynn for this 1975 country-shocker! Recorded in 1972, her label waited three years before finally allowing it’s release. Women’s sexuality and reproductive rights are still a major debate in 2020 (which is just insane to me, our bodies, our rights!), so releasing this song within such a conservative genre as mid 70s country way back when was a pretty bold move. Needless to say, a lot of country stations refused to play it, however, the additional PR and shock value around it may also have worked to Loretta Lynn’s favour.

The Kinks – Lola

Despite it’s ‘bold’ lyrics, it was actually the ‘Coca Cola’ reference that got sweet Lola banned from BBC radio, as mentioning the brand name was seen as advertising. To avoid missing out on those sweet BBC plays, Ray Davies recorded an alternative take using the words ‘Cherry Cola’ instead. However, due to it’s explicit lyrics referencing a transexual or transvestite; “walk like a woman but talk like a man”, “Girls will be boys, and boys will be girls” & “I’m not the world’s most masculine man, but I know what I am and I’m glad I’m a man, and so is Lola.” It was simply too much for the 70s. Rumour has it the song was based on their manager getting cozy with a bearded lady, either ignoring the fact she was bearded, or simply just being into it. Either way, the tune is banging.

Sex Pistols – God Save the Queen

Oh man, the Sex Pistols, they must have been a stuck up parent’s wet dream whey they first made an appearance! The filth and the fury of these greasy, outspoken punks, simply too much for the British empire to take. Their 1977 single ‘God Save the Queen’ (which was conveniently released just in time for the Queen’s Silver Jubilee), was regarded as an attack on not just the queen, but the entire monarchy, and was banned from the BBC as well as by the Independent Broadcasting Authority, which regulated Independent Local Radio. 

The Doors – Light my Fire

‘You know that I would be a liar, 
if I was to say to you,
Girl we couldn’t get much higher.

This one didn’t get banned from radio, but caused havoc at the Ed Sullivan Show. Before appearing on the show in 1967 to perform their single ‘Light my Fire’, The Doors agreed to replace ‘Girl we couldn’t get much higher’ with ‘Girl we couldn’t get much better’. However, during their performance Morrison stuck to the original lyrics, which resulted in them getting the remaining slots on the show cancelled, as well as some teenage hearts skipping a few beats.

The Saturday of Black Deer Festival was blisteringly hot and the days music was exceptional. In the afternoon Orange got the pleasure to sit down with William Crighton to talk through his musical influences growing up in Australia and how he is inspired to write songs both collectively and solo. He even strapped on his trusty resonator and played through the new TremLord 30 with its all analogue signal and valve tremolo and reverb.

How did you get into music?
I started in church, my grandmother used to take me and my brother to church in a little place called Ardlethan, a town of about 300 hundred people. It’s where we used to start singing the church hymns, i’m not really Christian any more but you can’t deny that sort of connection with that music. ‘How great thou art’ and ‘Amazing grace’, they are beautiful songs, I was a young kid you get swept up in emotion of the songs of that for sure.

Who are your biggest guitar influences?
My favourite guitar player is Neil Young just because he is so visceral, he plays what he feels and it’s cool. He would probably be my biggest influence across the board.

What inspires your song writing?
It’s always a tough question to describe your music, I’m not really a wonderful musician by a stretch. So I just do what I do and try and be honest with what I do, how I play and what I sing about and how I present it to everybody. My biggest inspiration is the world around us, just try to take it in, everything I have listened to as a kid probably flows into the music, you can’t stop that.

Do you usually write songs as a band or by yourself?
Bit of both, I wrote a lot of the songs by myself, a lot of the songs I write with my wife Jules and my brother Luke, or the rest of the band. It’s interesting touring solo, it’s a whole new thing I just did a tour in Australia and I found the same thing. You are out there by yourself so you have got no one supporting you but your also free to do whatever you like, I quite enjoy it, there is definitely room for both.

How are you finding the festival so far?
I just saw the Sheepdogs they were awesome and John Butler Trio who were great, fellow Australians, Irish Mythen, John Smith. Just walking around and hearing the buzz of everyone around is cool. It seems like a festival where everyone seems at home, everyone talks to one another, you walking past and the security guard says hello is always a good thing. I’m enjoying myself.