Tait Reed - (b. March 17, 1972) or Taito as he is often called after adopting his Japanese name, is a native of Santa Cruz, California. He is a founder member of the noise-punk band Junk Sick Dawn along with James Feathers and Graham Kenville (1993 to 2001) and of Noise Clinic [1] (which is based in Tokyo, Japan) along with Tabata, Mitsuru from Boredoms, Zeni Geva and Acid Mothers Temple on bass and Kawakita, Ayato on drums. Tait is also the guitar player for the Kyoto, Japan, based rock band Oh My Cow! which in cludes Hide from Ultra Bide (Alternative Tentacles) on organ and synth, Donald The Nut of Nerd-Rock pioneers Three Day Stubble on vocals and Reo (from mamastudio and NASCA CAR) on drums. He is also the 'noise-guitar' player for the old-school noise band +DOG+ (originally from Osaka, Japan in the early 1980's, now located in L.A.), which will include USA tour dates in summer of 2009. Tait started out playing punk and noise music in Santa Cruz around 1990, and was the guitar player in the local Goth-type band Beautiful Green Skeletons in the early 1990's. Tait is still very active in the music scene in Santa Cruz, often as a solo noise musician, show organizer or as a sound and light engineer/MC. Tait plays electric and acoustic guitar, ukulele, harmonica, drums, bass, keyboard and various electronics/looping, sampling/mp3 and recording units. Outside of his modern electric guitar playing, Tait is also an accomplished blues and slide guitar player. Often he will bring more than one (or several) guitars to a gig as they are all in different, home-brewed open-chord, drone, or just plain crazy tunings. His influences range from Lightning Hopkins to Melt-Banana, and often says he is a huge Syd Barrett fan.


As a young boy, Tait loved to listen to a lot of music. His parents got him a 'Close-and-Play' record player that he would use to play Beach Boys and Chuck Berry records at high speeds. He started to use a broken karaoke machine in the early 1980's to make noise cut-ups of various radio, TV, static and noise sounds and got interested in playing instruments. His first instrument was a trumpet as part of his school's band, which he quickly abandoned and "...dumbed myself down to play guitar," at about age 9. By the time he was in high school, he was playing in garage bands around Santa Cruz, Live Oak and Capitola. "I was really popular back then," Tait once commented, "because I had an amplifier for my guitar, and everyone wanted to play through it. Mostly those days were pretty typical for lower-class suburban kids - weekend parties, and 2-hour long free-form noise jams of 'Louie, Louie'..." though Tait's aesthetic of guitar - playing noise, using a slide, echo box and loud volumes was not always warmly received, it was in these days that he would forge a new and unique playing style, and write some of his first songs.

Around graduating high school, Tait played in a garage band (though it was a converted chicken coop) with his old friend and neighbor Graham Kenville. This band would break up and reform in various ways using different names over the next few years, playing parties and such. Eventually they were known as Runway Ghost (one of their songs, titled "Flight 357", included lyrics about fanatical terrorists hijacking a commercial jet and crashing it.) This band finally called it quits, and all the members went their separate ways but Tait and Graham would remain close friends. Also around this time Tait and a friend would often sneak into the local blues bar Callahan's with their guitars on Jam Night, play for about an hour, picking up what they could from the players and when the old guys would get up for a break they would run out before the bartender could check their ID's.

'''...this will be updated more and completed VERY soon!!'''

Gear, Amps, and GuitarsEdit

Here is a partial list of gear Tait is known to use. Not a fan of active pickups or digital/rack effectors, generally leaning towards vacuum tube amps and analog stompboxes.


1967(?) Fender Mustang - heavily modified with larger frets, a custom wound Van Zandt single coil pickup at the neck and a Van Zandt PAF humbucker copy at the bridge with coil tap.

1964 Fender Mustang - mostly stock, Van Zandt blues pickups.

1979 Gibson Les Paul - Seymour Duncan archtop pickup at the bridge, brass nut, often used for 'Earth' tuning.

1984 USA Fender Stratocaster - stock, often used for drop tunings.

1995 USA Fender Stratocaster - has over-wound pickups installed.

1994 Fender Jagstang - stock

1965(?) Teisco single pickup guitar - used for 'Headache' tuning

Cir. 1930's Regal ukulele

1969(?) Hohner acoustic - used for various tunings

...and a smattering of no-name, pawn-shop and swap meet guitars that are also used for various tunings.


1967 Fender Vibrolux (black face circuit with silver faceplate), no master volume

1977 Fender Twin Reverb - 130 Watts, master volume.

1970 Marshall 100 Watt Superbass - channel one and two inputs are jumped together, no master volume.

20002 Fender Blues Junior, with Jensen speaker and modified with vintage pre-amp tubes.

Cir. 1980's Yamaha solid-state, 10 Watt practice amp.

Marshall 4x12 cab, greenback speakers.

Single JBL 12" speaker cab.

Peavey 2x15" Scopion cab.

No-name single 12" speaker cab.


Prescription Electronics Experience Pedal

Carl Martin The Fuzz

Z-Vex Fuzz Factory

MXR Blue Box

Electro Harmonix Bad Stone

Boss DD-6 Delay

Tube Works RT-902 Pre-amp

Line 6 DL4

Apple iPod

Boss TU-2 tuner pedal