Tag: Chest Fever

Chest Fever

Araceli and Claes, Chest Fever session, Barcelona 29-04-2012 © Claes Gellerbrink, photographs can't be used without permission

Last Saturday Araceli and I had another gig with Chest Fever. We recently bought a Bill Lawrence A-300 pickup so Araceli could play her favourite little Tanglewood Premier TW133 guitar and I fitted my L.R. Baggs M1 in my 1968 Goya Model 163 and was very pleased with the result. You can listen to the whole gig on Youtube.

Tanglewood TRP-73VSE

Tanglewood Rosewood Grand Reserve TRP-73VSE 2011
Tanglewood Rosewood Grand Reserve TRP-73VSE 2011

Tanglewood Grand Reserve TRP-73VSE, Parlour guitar 2011, 400€ 350€
Araceli and I have decided to put one of our Tanglewood’s up for sale and just keep her favourite Tanglewood Premier TW133. The Tanglewood Grand Reserve TRP-73VSE is a very beautiful and well sounding little parlour, especially plugged in, designed in the UK and hand built in China.  Solid Sitka spruce top and rosewood back and sides this model produces a great rich tone with brilliant resonance for a small bodied guitar especially with the superb onboard B-band A3 pickup system. Other features include quality gold Kluson style machine heads, maple and herringbone binding and a lovely vintage sunburst high gloss finish. TRP-73VSE RRP £399.00

Photo of the day

Araceli & Claes wedding 17th May 2014
I’ve been away for two weeks, Araceli and I went to Sweden and got married. Chest Fever is now a husband / wife duo.

Chest Fever

Chest FeverAraceli and I have a gig tomorrow night, Wednesday 16th of April, with our band Chest Fever. This time we are actually headlining and are going to do a 1 hour set in 33 I 45. We will start around 20.30 so if you are in town and feel up for some Swedish/Spanish country sung in English then please come by. This will be our fifth gig and I have actually managed to never perform twice with the same guitar. Tomorrow I will bring my beloved Morris W-40 and maybe an old Greco Telecaster for some country twang.

Update: April 18, 2014
Chest Fever – Not so young anymore, live at 33 I 45 in Barcelona 16th April 2014

Chest Fever

Chest Fever gig 1/3 2014

Tomorrow night Araceli and I have a gig with our band Chest Fever at Palau Alòs, C/ Sant Pere més Baix 55 in Barcelona. We are on at 21 so if you are in town and feel up for some Swedish/Spanish country sung in English then come by. I will bring my Levin 174 which sounds a bit like the Goya T-18 in the clip below.

Update: March 3, 2014
Chest Fever – We got to keep on moving, live at the Palau Alòs in Barcelona 1st March 2014


Tanglewood Premier TW133

Tanglewood Premier TW133 2010
Tanglewood Premier TW133, designed in the UK and handcrafted in China in 2010

When I met my other half Araceli back in 2007 she already new the basic cowboy chords but never really played guitar, I had only heard her strum a handful of times. She told me that she didn’t really like to play on my guitars since I seemed to care so much about them so I thought the best way around that would be to get her a guitar of her own. I also felt that since I had experienced so much joy through music in my life that would be the least I could give to the woman I love. I talked to her family and we agreed to put in 50 Euro each and get her a guitar for her birthday in September 2010. It was down to me to find a suitable guitar within our budget so I started to do some research. I knew that a parlour guitar would be best option, she is pretty small so I thought that a small bodied guitar would be easier for her to handle. I already had an inexpensive parlour a Vintage V880N that I liked but didn’t love so I thought I would try another brand this time and started to read about Tanglewood. People seemed to really like them, especially in the UK, and they had quite a few parlour sized models so it felt like a good start. Since you can’t just walk in to a guitar shop here in Barcelona and try what you are looking for, the shops here are useless and have nothing in stock, I had to rely on reviews and then order the guitar online. In the end I went for the Tanglewood Premier TW133, since I thought she would really like the look of it, or at least I loved the dark wood and the simplicity of it. I also felt that a solid mahogany top and back would give a bit more warmth and body to it compared to most new made parlour guitars which I feel normally lack that. She was really happy with her birthday present and started to play almost daily and soon after we even started a band together called Chest Fever.

© Claes Gellerbrink, photographs can't be used without permission. Araceli and Claes Chest Fever session, Barcelona 29-04-2012
Araceli, Chest Fever session, Barcelona 29-04-2012

Tanglewood Premier Historic TW133 ASM
SHAPE: Parlour, TOP: Solid Mahogany, BACK: Solid Mahogany
SIDES; Mahogany, NECK: One Piece Mahogany
FINGERBOARD: Rosewood, BRIDGE: Rosewood
SADDLE: PPS, Compensated, 72mm, NUT: PPS (43mm)
SCALE LENGTH: 650mm, BRIDGE PINS: Black with White Dots
MACHINE HEADS: Chrome open geared (changed to gold Grovers)
FINISH Natural Satin, STRINGS: D’Addario EXP11, 12-53, RRP: £269.95

Songwriting credits

Chest Fever, Claes Gellerbrink and Araceli Perez
Chest Fever, my first band without any issues regarding who wrote what, maybe because it’s just the two of us

A big discussion in all bands I have ever been a part of has been, who is going to get credits for the songwriting? Since I have never been a part of a successful band that has actually made any money this hasn’t really felt too important in the past, especially since I didn’t use to write music. However, over the years my opinion has changed quite a lot. I started to write music seriously when I moved to Spain in the spring of 2010, before that I just expected others to supply the band with songs. I think I wrote one or two songs for The Caper Story, the last band I played in when I lived in London, well I came up with the riff and then the singer sorted the lyrics. In those cases I felt it was more of a collaborate effort to create music and didn’t mind if the others had an equal share in the credits of writing the song. After all we were a band and we all added something to the finished sound of the song. When I arrived to Barcelona I was unemployed for the first two month and decided to write a song a day however bad it was, just to get used to writing songs and especially to get used to write lyrics. It went pretty well even if I didn’t managed to write a song a day I probably came up with 10 songs at least during this period, some of them I still play today and think are pretty good songs. These songs I consider being 100% mine, not only because I wrote them on my own without the influence of others, but because I have tried to be in 3 different groups during my 3 years here and played those songs in all three bands. If I would have given credits to the others in the first band I played in but recorded it with the last, how would that have been? The drummer kept the beat, the bassist came up with their own bass lines and the guitarists added a fiddly bit or two in every band but to be completely honest, they didn’t sound that different. The songs sounds like they do because of me, what I had in my mind when I wrote the songs still guides anyone who I play it with and therefore the credit should, according to me, be solely mine. It might seems like a egoistic way of seeing music and I can understand that, but if you change this from songwriting to any other form of artistic creation it would seem fairly obvious. I’m a photographer by trade, well nowadays I’m mainly a retoucher but still, I would never give away the copyright of my images or share the credits with anyone else and I don’t think others should either. If you have a few beers and jam up a song, that’s a different story, anyone adding anything to that song should of course have a part of the credit. I’m referring to when you bring a finished song to a band and they expect to get songwriting credits just because they changed the drum beat or added a bass line. This is not even a matter of money, well I haven’t made any money out of my music yet, it’s just a matter of freedom. I don’t want to end up having to share my credits with someone that I might not even be friends with any more just because we used to be in a band together at one point. Or having the possibility that someone decides to play a song that I wrote in his new band without my consent just because they got a share of the credits and therefore can partly call it their own. I need and want the freedom to be able to do do whatever I want with with my own music, now and in the future. It’s perhaps a silly matter until money comes in to the picture but I still think it’s important to make up your mind before greed starts to influence and cloud peoples judgement. A song you have written will be with you for the rest of your life while band members tend to come and go.

I thought of all this because I was listening to Boris the Spider, a song written by John Entwistle for The Who’s 1966 album A Quick One. I read somewhere that they all contributed with songs to the album because they realised that a lot of the money lied in getting royalties for the songwriting. If this is true or not, maybe Pete Townshend was just tired of supplying all the material, it’s a good point. If you want some royalties you better start writing songs.

Chest Fever

Araceli and Claes, Chest Fever session, November 2012 © Claes Gellerbrink, photographs can't be used without permission

My girlfriend Araceli and I have a gig with our band Chest Fever this Saturday. If you happen to be in Barcelona come and see our country folk duo warm up the stage for Cobarde. The recipe will be 1 old waistcoat, 1 bottle of old bourbon, 5 old songs, 2 new songs, 1 new guitar and at least 1 new hat.