Sarah Frick is the front person for Tulsa’s alt-glam rock and roll band Golden Ones. The band is set to release their debut LP, Nowhere Fast, on November 27 via Horton Records.
Recorded at Leon Russell’s Paradise Studio by Jason Weinheimer and Zachariah Reeves of Fellowship Hall Sound over two days in July, the LP consists of ten original songs that “touch on everything from the current state of the world, the anxiety of getting older, feminist anthems, addiction, and love in all its forms with crunchy guitars, booming drums, infectious melodies and the slinky, glittery grooves of the 70s.”
Preorder Nowhere Fast HERE.
The band pays homage to David Bowie by taking their name from Bowie’s song, “Oh! You Pretty Things,” from the lyric “where the books were found by the Golden ones, Written in pain, written in awe, by a puzzled man who questioned what we were here for.” In addition to Frick, the band is made of up of lead guitarist Sean Fisher, bassist Jesse Frick, and drummer Jay Sullivan.
What is your definition of tone, and how has it changed over the years?
Growing up I was taught at a young age about the importance of guitar tone. My dad is an accomplished guitar player and he taught me everything I know! My definition of tone is the attitude of the instrument.
Which guitars, amps, and pedals are you currently using and why?
I play a 1979 Studio Zephyr Electra, that was actually one of my dad’s first guitars. Funny story—he got rid of it over thirty years ago and happened to find it again on craigslist and then gifted it to me. He knew it was his because of the crack on the back of the body. It has that classic ’70s Les Paul fullness and it’s priceless to me. My other guitar is a Player Series Mexican Fender Stratocaster. I love it. It’s so smooth and fun to play. For pedals, I keep it pretty simple; right now my pedalboard consists of an Xotic BB Preamp, BOSS Delay Waza Craft, BOSS Equalizer, and a BOSS Chromatic Tuner! If you have a great tube amp and a BB Preamp, that’s all you really need for a great rock and roll sound. I use a VHT half stack. It packs a punch and is super easy to transport. One of these days I’m going to steal my dad’s vintage Marshall JCM 800 though…
What about strings?
Ernie Ball Regular Slinky’s for my Electra and Fender Super Bullets for my Strat.
Are there certain recording techniques you prefer in the studio?
I like recording everything live and then overdubbing vocals and extra guitars. I feel like you lose a bit of the band’s energy when everything is recorded separately. The magic of bands is what happens when everyone comes together, so that’s important for me to keep in the studio. For our band especially, our live performances are what we’ve built our reputation on and we want that to come across when recording.
How do you keep your sound consistent onstage?
I think that comes with experience. Knowing how a certain room is going to affect your sound and how to temper the changes that come with different spaces.
What does your practice consist of?
Learning whatever song comes to my mind. I think that’s the best way to get your chops up. Learn how to play songs you love by musicians you admire, figure out their tricks, and then make it yours in your own writing.
What is your advice for young women who hope to work in the music industry?
Never stop learning new things. Don’t listen to anyone about what you should or should not do. Be unapologetically yourself and people will notice.
