I like the sound of mics in a room. To me it's all about picking up the energetic imprint of the guitar, location and player. I like tape hiss too, always have done. Lots of information encoded in white noise.
On second listening, the track is too indulgent, and needs editing.
A tiny bit of compression would probably do the trick. But only a little I like a raw sound. Most modern music is way overproduced. This is a good essay by Jack Endino:
http://www.endino.com/archive/arch4-0.htmlHOW TO OVERPRODUCE A ROCK RECORD!
[2002 ADDENDUM: On some circulating versions this title has mysteriously changed to "HOW TO PRODUCE A HIT RECORD!"... attributed variously to F. Lee Harvey Blotto, or to no one]
Written by Jack Endino, Xmas 1998; also available in "The Tape Op Book", published by Feral House Press.
First, spend about a month on "preproduction", making sure that everything is completely planned out so that no spontaneity is necessary or possible in the studio. If there are no "hits" there, make the band collaborate with outside songwriters. [On one of the uncredited versions of this essay that I still get unwittingly forwarded to me from time to time, someone added here "... or better still cover an old hit!" Thanx, good point.] Line up extra studio musicians who are better players than the band themselves, just in case.