West Coast Blues Thread - Version 2.0

[Strat-O]

NC - Coool video. Thanks for the heads up!!

[jumpnblues]

Goldie,

Run that by KBR. If he doesn't have something he might be able to steer you to some "Fats".

Tom

[Strat-O]

I was talking to NC Slim the other day about the Ronnie Earl live disc with Jimmy Rogers. Its a great album but I tell you, my favorite live Ronnie Earl disc is "Live at the Knickerbocker" with Big Walter. Jeez, is it a killer performance. Ronnie's tone is so cool. Just a little on the dry side. The whole recording is killer. The EQ is just flat enough to be soulful and classic. Sugar Ray sounds killer on the tunes he sings. The whole band sounds awesome.

Who's the drummer though? Was he a part of the Broadcasters regular band?

Are there any other Broadcasters albums from this period that are good?

CK

[rjkohrs]

Hollywood Fats is also on Rod Piazza's Harpburn and Live in '75.

[KBR]

I know alot of y'all are Hip to Don Mare's Pickups, but the Tele Set That I got (Like AC's) Porter That is, are Just out of this World!

I have been known to do some Good Old style (1969 Albert Collins Truckin LP/CD) type of playing but NEVER sounded so Much Like Albert Collins before.
I don't play Anyone's songs note for note, I mean why?) but really get into the Cats (Vibe, or spirit) what ever one calls it.

Also when using both pups in my 6 lb Pine tele It delivers the CLASSIC SOUL TUNE'S Rhythm sounds, ala Cropper, or whoever...60'
s Soul is fun * & popular at clubs, this Tele absolutely smokes on that as well.
Neck pup is also great and with my playing style has a good Strat type sound with my Technique....
I roll off the Highs and get a Willie Johnson Distort O Tones for days, Great on early BB King stuff... P90 Like.

Don, You made a HBer/P90 Player just fired up to play a tele again!

Thanks, Man.


Tom will post some pix of this Tele and my Les Paul O caster hybrid that is my Korina 7lb 1 ounce Swing and or Albert King sounding axe...

[RickyKing]

I was talking to NC Slim the other day about the Ronnie Earl live disc with Jimmy Rogers. Its a great album but I tell you, my favorite live Ronnie Earl disc is "Live at the Knickerbocker" with Big Walter. Jeez, is it a killer performance. Ronnie's tone is so cool. Just a little on the dry side. The whole recording is killer. The EQ is just flat enough to be soulful and classic. Sugar Ray sounds killer on the tunes he sings. The whole band sounds awesome.

Who's the drummer though? Was he a part of the Broadcasters regular band?

Are there any other Broadcasters albums from this period that are good?

CK
I believe it is Neil Gouvin, regular Drummer Extrodinaire for The Bluetones for ever!

[TwoFeets]

Brief interlude:

Going back a few dozen pages on this thread, I'd like to state for the record that a very kind fellow WCB threader was kind enough to send me Buddy Guy's "I Was Walking Through the Woods," and you guys were right; I do like it.

And, in keeping with the redemption theme, I now have an iPod, and I figured out how to use iTunes.

So if you happen to own a spare fur coat, you might want to mail it to the devil - I think he'll be needing it.

[aja]

http://www.youtube.com/watch?v=yuUN8KkLcGo&NR=1
Check out this Ronnie Earl inerview. I found it while searching for inspiration on youtube.

Thats Ola Dixon on drums on the Big Walter recordings.
Thats one of buddys best imho.

[Poppa Stoppa]

So if you happen to own a spare fur coat, you might want to mail it to the devil - I think he'll be needing it....haha! Or a pair of iceskates so he can get to work...

aja - wow some KILLER playing there! I never heard Mr Horvath speak before. How different his voice is to what what I expected!

[rhartt1234]

Are there any other Broadcasters albums from this period that are good?

CK

All but two songs from the first two Broadcasters LPs are compiled on the CD "Deep Blues" on Black Top if you can find it these days. I will dare to say that it is pretty essential modern traditional Blues listening.

[aja]

Thats one of my favs rhartt.

Heres some Kid Ramos with the T-birds. Love his tone.
http://www.youtube.com/watch?v=ntfdmMgLa3k

[Poppa Stoppa]

Heres some Kid Ramos with the T-birds. Love his tone. http://www.youtube.com/watch?v=ntfdmMgLa3k (http://www.youtube.com/watch?v=ntfdmMgLa3k)
Alright.

Here's another I really like - poor quality video, but some vintage Kid Ramos licks: http://www.youtube.com/watch?v=BiRh2hjHcno

Here's a question - how DOES Kid get his tone? Goldie reckons he must have 160 foot of cable stashed in the back of his amp. I don't know about that, but all I do know is if I tried to recreate Kid's rig, I'd be shattering teeth at 50 paces with treble.

[Lewy]

Hey all...thought I'd stop lurking and say hi. I'm a friend of Goldie295, who pointed me in the direction of this board....well this thread specifically. Hopefully I'll be able to make some sort of meaningful contribution at some point but in the meantime, thanks for the great info here and ...er.....hi!

Lewis

[KBR]

Kid Ramos is a friend, and a Great Player and a Great Guy.
He played with James Harman while Fats was in the band, and Man he worked hard and got great, Like Fats.

I ain't great but had a similar experience working w Little Charlie Baty for 2 years, and some of it is gonna be in yo head, and heart and IF you work, you can get Good!

[jumpnblues]

Here are some awesome guitar pics that I'm posting for my buddy Kenny "Blue" Ray. Beautiful axes. I'll bet they sound as good as they look. :AOK:AOK


http://pic20.picturetrail.com/VOL96/9537383/17383110/273103891.jpg

http://pic20.picturetrail.com/VOL96/9537383/17383110/273103888.jpg


Tom

[GOLDENSTRAT]

On a different note, what tunes are yall having fun with right now, audience response or musical satisfaction? Many originals? I'm digging Slim Harpo and Albert Collins alot lately and doing my own stuff but need to start writing some new tunes, too. fred

[Scott Miller]

That Paul-o-caster sounds really great. Hell, Kenny always sounds great.

We've been doing a bunch of originals lately. The key seems to be to include some dumb-ass hook that people can latch onto. I wrote one called "Cheap Beer is Good Beer" that people love to sing along with. Or shout drunkenly along with, anyway. Also, you can't lose with the double-entendres; riding ponies, eating hotdogs, that sort of thing.

Slim Harpo is a gold mine.

[KBR]

Thanks, Tom & Scott.
These 2 Dudes also can really Play!

Lot's of Good players, everywhere...
It ain't rocket science.

If it would be I wouldn't know what to do, having failed algebra (advanced Math) not sure on spelling!

[Strat-O]

Cool. I'll track down that Ronnie Earl disc. I've got four or five of his albums, but no early albums with Sugar Ray. What a fantastic band!

Two Feets - Congrats on the Buddy Guy hookup. Sadly, there isn't much more out there that sounds like that. I sure wish I could sing like that. Not too many folks can!

[valcotone]

Kid Ramos... the tone on the Look Watcha Done clip is one he seems to favour for those kinds of hopped up numbers... sounds like bridge pickup (duh... it's an Esquire! haha) with the tone rolled off and picking hard really close to the bridge. Lots of 'verb too. I really like that tone too.


We're getting good crowd response from Certainly All (our bass player encourages the audience to to the response vocals, and it sometimes works...), and a medley of Good Time Charlie and (I kid you not) I Feel Good. I wrote a quick and silly song called Leroy after my dog that some people seem to dig too... it involves him doing things like licking, digging, humping. Dog stuff.

[stevieboy]

I've heard that Kid Ramos sold his Esquire, any truth to that? I know I've seen him a couple of times as Kid Ramos, since his T Bird days, and he played mostly Strats. The first time he had the Esquire but I think only used it for one number, the second I don't think he even had the Esquire on stage.

[bluesjuke]

Kenny, give us the lowdown on your "Les Paul o Caster".
That's an awesome concept and a great execution!

[KBR]

My 4th one, I sold one to Tim Too Slim Langford, a wicked Player from "Too Slim & The Tail Draggers.
This one I may keep, It is a 7 lb 1 ounce solid Korina, with contours, a Strat Hard Tail bridge, string thru. Neck 7.2K Lollar Imperial, a 7.9K Voodoo bridge Hber, wicked LP Tones like a late 50's type of Tones, at least to my ears;
I didn't open it up Wed Night, (Volume issuses, but Fri & Sat it was smokin.)
Neck is Warmoth Boatneck, Mahogany w Rswd Board 10-16 Radius, Vintage Modern features, single truss Rod.

It has the Tone w/o weighing 8-11 lbs.
6100 frets, too.

[GOLDENSTRAT]

Just got back from an enjoyable evening watching John Nemeth and crew put on a great show. Talked with the bass player Mike Phillips quite a while after the show, very nice guy. Matt Stubbs was rippin' on the guitar. Most excellent. fred

[T. Caster]

Hello there. I have been looking in here from time to time, thought I would introduce myself to the gang. I'm a recovering country player :D, have been out of the biz for almost 20 years, getting back into playing and interested in blues. I would like to thank y'all for bringing Kid Ramos, Hollywood Fats, and Willie Johnson to my attention. A few strokes of the keyboard have some of their CD's on the way to my mailbox. They will be keeping me busy for quite a while. The west coast blues thing is not too far removed from it's country cousin, western swing, which always appealed to me more than the Nashville stuff.

KBR---Tim Langford is from my area, have seen him several times, though he doesn't play around her very often anymore. He is quite a good picker, and the band is tight.

Dan

[Goldie295]

Stevieboy,

Yes Kid has sold his Esquire. He now uses an early '52 RI Tele (circa '82) and a Mary Kaye Strat (not sure if this is an original or a reissue as there seem to be conflicting suggestions on the web) my guess is it's original.

Interestingly, his Esquire (which was a '59 toploader) was the inspiration for the now discontinued Fender '59 Esquire. Fender borrowed Kid's and hey presto a new model was born. I have hankered after one of these for ages but never found one that spoke to me. Apparently, when they are good they are great.

I am convinced I read somewhere that Kid uses a seriously long lead (160’) and wondered if this was how he got away with turning that Vox all the way up. Over here in England it is hard to confirm these things because Kid ‘don’t come to these parts’ too often/at all.

Has anyone seen Kid recently? Can they confirm the long lead ‘myth’ one way or another??

Cheers,
Phil

ps Welcome to the board Lewy !

[TwoFeets]

We're getting good crowd response from Certainly All (our bass player encourages the audience to to the response vocals, and it sometimes works...), .

We used to do that song and - funny thing - we were scolded on more than one occasion for the "R-Rated Lyrics." Apparently people in the audience always thought we were singing "Suck Me Off."

[Dave Orban]

We used to do that song and - funny thing - we were scolded on more than one occasion for the "R-Rated Lyrics." Apparently people in the audience always thought we were singing "Suck Me Off."LOL! I can see how that might happen...!

[zappafrank]

We used to do that song and - funny thing - we were scolded on more than one occasion for the "R-Rated Lyrics." Apparently people in the audience always thought we were singing "Suck Me Off."


That's funny---'cause I had always thought that too, until I actually read the song title!

KBR---get back to PDX soon so we can 'compare' teles---and Les Pauls!---Yep, mine's done too---7.1lbs (or maybe 7.3) as well, believe it or not (it was a tad less before I put the Grover Rotomatics on)---put those Voodoo 59's in it---we'll have fun, and it will give me a good reason to clean my apartment! ---I still have to have my tele's neck trimmed down a bit---that 1" thing all the way up and down it is a bit much for me---it will still be chunky, tho---

I'll try to get a pic of that LP up some time--

ac

[TwoFeets]

All you Tele guys using regular Tele pickups, either of the Don Mare variety or others... what sort of amp/guitar settings do you favor? Jack up the bass and volume and control the thing from the guitar or what?

[jumpnblues]

My amp settings vary quite a bit depending on the amp in use but my (tweed) treble settings are usually anywhere from 8 to dimed (with darker amps), bass from 3 to 7 (depending on the room), mids around 7 (single coils), presence off to around 3. However, I've lately experimented on my Victoria 35115T Tweed Pro with Weber P15N (15A150) by diming the presence to add ultra high harmonics...I can always back the tone knob off on the guitar. I usually back the tone control off anywhere from about 1/3 to 1/2 anyway for the bridge p.u. There's a sweet spot in that region on each of my Teles where the bass just begins to turn to treble on the tone control. That sweet spot tone is fat yet has beautiful, harmonic highs on the bridge p.u. especially. I dial on full treble with my Teles when using either the neck p.u. or both p.u.s simultaneously. All the settings I've talked about so far relate to the Vicky Pro and Teles. I run the controls roughly the same for Strats through the Pro except I run the tone control for the neck and mid p.u.s around 8 and the bridge p.u. the same as with Teles. I have 2 guitars with P-90s that I usually run through a 40 watt Allen Encore with a 4x10" cab. But that's another post. I don't have any guitars with humbuckers. :cool::cool:

Tom

[Scott Miller]

"Certainly All" started life as a gospel song. Now look what you've done to it!

[bbarnard]

Hey let's all wish our very own TwoFeets Happy Birthday today (8/21)!

Happy Birthday Feets!:RoCkIn:dude:BEER

[Goldie295]

Happy Birthday from England Feets!

Still loving your 'Juice Head Baby (http://www.youtube.com/watch?v=vJ8ImNHw608)' YouTube vid !!

Cheers
Phil

[Dave Orban]

Hey let's all wish our very own TwoFeets Happy Birthday today (8/21)!

Happy Birthday Feets!:RoCkIn:dude:BEERIndeed...!

Hope it's a good 'un...! :BEER

[ES350]

no long cord for Kid Ramos...his Esquire had a pretty hot pickup and he rolled off the tone...

[Strat-O]

I set the amp with the treble wife open and bass off then control the tone, volume and OD from the guitar. regardless of which pickup I use. I use Don's 0038 pickups.

[Dave Orban]

I set the amp with the treble wife open and bass off then control the tone, volume and OD from the guitar. regardless of which pickup I use. I use Don's 0038 pickups.I'm not even sure where to begin...

LOL!

[Scott Miller]

Hey T.Caster, I listened to a lot of Western swing in my formative years. Eldon Shamblin and Johnny Gimble pop up now and then when I get into swinging. I like how those guys get it said in eight bars or less; West coasters tend to go on a bit sometimes!

[Goldie295]

Kid Ramos... the tone on the Look Watcha Done clip is one he seems to favour for those kinds of hopped up numbers... sounds like bridge pickup (duh... it's an Esquire! haha) with the tone rolled off and picking hard really close to the bridge. Lots of 'verb too. I really like that tone too.


Only thing is in the video he clearly has the Esquire switch all the way back (2:10 into the vid gives a good close up) which would indicate rear pup and tone bypassed (which is obviously nothing like tone rolled off) unless he has rewired it?

Cheers
Phil

[Shades]

Hey T.Caster, I listened to a lot of Western swing in my formative years. Eldon Shamblin and Johnny Gimble pop up now and then when I get into swinging. I like how those guys get it said in eight bars or less; West coasters tend to go on a bit sometimes! Cool, I listened to a lot of Gimble and Harold Bradley. Great players. My buddy Jim Nichols can really nail that kind of thing..Bradley, Buddy Emmons (who copped a lot of Barney Kessel anyway), Jimmy Byrant meets straight swing. His brother John can do a pretty cool mesh of Chet style with Freddie King and Lonnie Mack mixed in...smokin' stuff.

[TwoFeets]

Ah shucks, thanks for the birthday wishes guys!

[mikelaw]

happy birthday robby! loveya man! hope to see ya again soon

[jimfog]

Hey,

So what are we all digging these days in P90's? I just picked up this Guild Blues 90 and the stock Duncan Hot and Custom pickups are so bad, I actually wonder if there's something wrong with them.....

http://www.jimfogarty.com/sale/Blues90.jpg

Obviously, I'm going for the same vibe most of us here are, in general......not too hot, good for swing comping AND single note leads without tons of gain.

Any ideas....or even better, pickups you're getting rid of??

cheers,

jim

[Dave Orban]

Well, the stock Gibson P90s aren't half bad, IMO.

I definitely like underwound Fralins. The Lollars I've played haven't done it for me... too hi fi, for me, at least...

[stevieboy]

The Duncan hot and custom P90's are definitely for rockers. I have a Tele Jr that came with them, replaced them right away with Lollars, sounds great now.

[TwoFeets]

Well, the stock Gibson P90s aren't half bad, IMO.

I definitely like underwound Fralins. The Lollars I've played haven't done it for me... too hi fi, for me, at least...

Ditto on the stock Gibson P90's. Had Duncan Antiquities in an archtop and thought they had decent tone but were maybe a bit too smoothed and polite.

[KBR]

I like the Lollar 5% underwound neck P90 for cleaner tones, and a regular Lollar Bridge P90.

[jimfog]

Checked ACME Guitar and the Lollar regular P90's are (already pricey) $180 a set.....but for some reason the "Vintage wound" set is $230!!! What's the deal with that?

Anybody have a good source for these? Feel free to PM or email me if you don't want to post it.

Thanks!

- Jim

[Dave Orban]

I'd also look at both Vintage Vibe Guitars (www.vintagevibeguitars.com) and Harmonic Design (www.harmonicdesign.net), both of whom make great pickups. Vintage Vibe's pickups are like half of what Lollar charges, FWIW...

[straightblues]

Hey,

So what are we all digging these days in P90's? I just picked up this Guild Blues 90 and the stock Duncan Hot and Custom pickups are so bad, I actually wonder if there's something wrong with them.....
Any ideas....or even better, pickups you're getting rid of??

cheers,

jim

I called Don Mare and had him rewind my Duncan way too hots. He did and amazing job. In fact, the pickups sounded so good, I went out an bought a Gibson R6 to put them in. I can just nail that early Freddie King tone. I am very happy with them. I don't know if he has them on his website or not.

[Strat-O]

Happy Birthday! Mine was a few weeks ago.

I use SD Antiquity P90's rewound by Don Mare too. Very cool pickups in a hollow body.

[Birdseye]

I like the Lollar vintage winds in my R4. I went from the stock pickups, to standard Lollars, to the vintage winds. Generally I like the vintage winds best, but they are pricey. I could see why guys prefer a bit hotter wind in the bridge. I've heard great things about the Harmonic Designs, but they are pricey too. I think the Lollar vintage winds nail the Freddie King tone, and the stock Lollars are pretty cool too.

I'd probably sell my extra set of stock Lollars if you're intersted, Jim.

ML

[jimfog]

Thanks, guys......lots of good ideas!

Shot you an email, Birdseye..........

- Jim

[GOLDENSTRAT]

Happy B-day Twofeets! fred

[zappafrank]

Happy Birthday TwoFeets! Another year older and another year broker---
SOMEDAY we'll meet in person---

ac

[rjkohrs]

http://i69.photobucket.com/albums/i50/rjkohrs/be8ba061.jpg

Here's my first try at posting a photo. I snapped Kid last summer (tuning up before a Mannish Boys show). His guitar cord was probably 20-25 feet long.

[Stringmaster]

Re: P90's, I just put a 5% under neck pickup in my Collings 290--and had Jason build it to be out-of-phase in the middle postion. It's a good match for the stock bridge as KBR mentioned. I had planned to go with his vintage set, but Jason indicated that there is not much ouput difference between the two pickups--and a guitar with about 15% difference (bridge hotter) works better for me--and he wouldn't guarantee what the outcome would be if I had him to the neck p/u 15% under the vintage-wound bridge. I'm happy with the combo I have now--they are much hotter than the p/u's in any of my other guitars, but they still work for me.

This is perhaps my favorite Kid Ramos tone (or anybody's for that matter)--"Kid's Jump" from the first Mannish Boys CD:

http://deltagrooveproductions.com/music/releases/liveandindemand/audio/1.html

I asked how he got such awesome tone--and Kid told me he used a baritone guitar, through his AC30. I never would have guessed! I'd like to know the scale length of that Bari, and how it's tuned up. Doesn't sound much below standard?
DD

[jumpnblues]

Just curious what you guys do with the sometimes harsh, raspy, sounding unwound 3rd string on Strats. It's especially noticeable on the mid and neck p.u.s. I've lowered my p.u.s drastically (they actually sound better lower) and raised the individual saddle for the 3rd string until the 3rd string is ridiculously high, but I still get some harshness. I can get rid of about 50% to maybe 70% of the harshness but not all of it unless I raise the 3rd string saddle unreasonably high. I use excellent p.u.s (VanZandt Vintage Pluses and a VZ Blues in the bridge of my hardtail Strat, and I use Lollar Blonds in my mid-50's style trem Strat). And the tone of both brands is superb...except for the raspy 3rd string. I've yet to hear a Strat p.u. that didn't have the raspy 3rd string. I'm thinking of having Don Mare wind me a set maybe based on the Junior Watson set but make sure the 3rd string sounds nice and smooth like the rest of the strings. I'm tempted at times to try and push the pole piece for the 3rd string lower, but I've read you can ruin a p.u. trying that if you're not careful. I don't seem to notice it that much on recordings. Maybe I'm just being too anal. Anyway, just thought I'd ask if anyone has any recommendations. :confused::confused::cool::cool:

Tom

[valcotone]

Much happiness on your birthday TwoFeets!

[valcotone]

P90s... I have a couple of sets of stock Lollar P90s with a -5% neck wind, one soapbar set in my Edwards gold top and a dog-ear set on an old Silvertone archtop. Both are just great... I don't have a problem with them sounding too hi-fi and I'm generally using tweed amps, or Valcos. I agree though, he could wind the bridge pickups a little hotter for my taste.

[nmontz]

Skilback....How close do you have your bridge pup to the strings? I cut a wooden shim and stuck under the bridge pup to get it upppp there. Just looking at it...it looks like the polepieces are only 1/8th or less from the strings on the bridge pickup and they are pretty close to the cover. In my r6 I have stock neck and +15% on the bridge with my fralins though. I think the guitar has too much output overall and I almost always run it with the tones and volumes rolled off. I really dig the tone of that bridge p-90 raised up as far as I dare though.

[valcotone]

Skilback....How close do you have your bridge pup to the strings? I cut a wooden shim and stuck under the bridge pup to get it upppp there. Just looking at it...it looks like the polepieces are only 1/8th or less from the strings on the bridge pickup and they are pretty close to the cover. In my r6 I have stock neck and +15% on the bridge with my fralins though. I think the guitar has too much output overall and I almost always run it with the tones and volumes rolled off. I really dig the tone of that bridge p-90 raised up as far as I dare though.


Well, in both cases the bridge pups are pretty high compared to the neck. 1/8" is probably about right (I don't have them close by right now)... more of a height difference than any other pickups I have.

[bluesjuke]

Happy Birthday TwoFeets!


You share a birthday with Count Basie.
(And my niece too!)

[T. Caster]

Just curious what you guys do with the sometimes harsh, raspy, sounding unwound 3rd string on Strats. It's especially noticeable on the mid and neck p.u.s. I've lowered my p.u.s drastically (they actually sound better lower) and raised the individual saddle for the 3rd string until the 3rd string is ridiculously high, but I still get some harshness. I can get rid of about 50% to maybe 70% of the harshness but not all of it unless I raise the 3rd string saddle unreasonably high. I use excellent p.u.s (VanZandt Vintage Pluses and a VZ Blues in the bridge of my hardtail Strat, and I use Lollar Blonds in my mid-50's style trem Strat). And the tone of both brands is superb...except for the raspy 3rd string. I've yet to hear a Strat p.u. that didn't have the raspy 3rd string. I'm thinking of having Don Mare wind me a set maybe based on the Junior Watson set but make sure the 3rd string sounds nice and smooth like the rest of the strings. I'm tempted at times to try and push the pole piece for the 3rd string lower, but I've read you can ruin a p.u. trying that if you're not careful. I don't seem to notice it that much on recordings. Maybe I'm just being too anal. Anyway, just thought I'd ask if anyone has any recommendations. :confused::confused::cool::cool:

Tom

Ever tried pickups with non-staggered pole pieces? I have better luck with them than with staggered.

Dan

[T. Caster]

Hey T.Caster, I listened to a lot of Western swing in my formative years. Eldon Shamblin and Johnny Gimble pop up now and then when I get into swinging. I like how those guys get it said in eight bars or less; West coasters tend to go on a bit sometimes!

Asleep at the Wheel did a lot of that sort of thing too, with a bit more contemporary sound. Tiny Moore had a pretty cool electric mandolin thing going on too with Bob Wills.

Junior Brown was a pretty good swing player when he was playing in Boulder back in the 70's. He had a Charlie Christian model Gibson jazz box at the time. Used to see him all the time with a local western swing band there.

Dan

[Goldie295]

Found some good Ramos pics here (http://www.marie-photos.com/gallery.asp?gallery_id=2332&page=1) (four pages of them). A short lead it is.

Vintage strat through a fender reverb through an AC30. Top stuff !

Cheers,
Phil

[Lewy]

So.....you think Kid works out?

[dddelta]

Re Kid Ramos tone...maybe thats whats keeping that pomp afloat!

[Goldie295]

So.....you think Kid works out?

Re Kid Ramos tone...maybe thats whats keeping that pomp afloat!

I'm not sure I link (http://www.beachesjazz.com/review/2004/biophotos/kidramos.jpg) what you guys are trying to say... :rotflmao

---------------------------------------------------

You around for a beer at the jam tomorrow night Lewy?
:BEER

[Lewy]

You around for a beer at the jam tomorrow night Lewy?
:BEER

Should be, old son, should be.

[Dave Orban]

So,ok
I waited a day to let it all sink in...

I had the EXTREME pleasure of attending James Harman's show on Monday night at Harry's Blues Bar in Hyannis on Cape Cod, It was a FANTASTIC night.

James was superbly backed by our own Nick "I got them all" Adams, Dave Armstrong on drums,and Mark Poniatowski on upright. Man,the sensativity and control, the disipline the guys showed playing behind James was something to be seen! And when I call Nick "I got them all" well he does. From Willie Johnson to B.B.King, Hubert... yea man, the whole book! But especially the dynamics and attention to the details made it easy for James to just be James. And indeed he was. It wasn't an especially huge night (should have been),but James was really on.

Added a visit by Jerry Portnoy wernt too bad either.

Hats off to Nick and the band for a GREAT Job. We should all have nights like that! Makes me want to work harder!!
Harman is simply one of the best. Ever.

(And Nathan ain't no slouch, neither...!) :dude

[RickyKing]

So,okI waited a day to let it all sink in...
I had the EXTREME pleasure of attending James Harman's show on Monday
night at Harry's Blues Bar in Hyannis on Cape Cod, It was a FANTASTIC night.
James was superbly backed by our own Nick "I got them all"Adams,Dave Armstrong on drums,and Mark Poniatowski on upright.
Man,the sensativity and control,the disipline the guys showed playing behind James was something to be seen! And when I call Nick "I got them all" well he does. From Willie Johnson to B.B.King,Hubert...yea man,the whole book! But especially the dynamics and attention to the details made it easy for James to just be James. And indeed he was. It wasn't an especially huge night (should have been),but James was really on.Added a visit by Jerry Portnoy wernt too bad either.
Hats off to Nick and the band for a GREAT Job. We should all have nights like that! Makes me want to work harder!!

[mikelaw]

killer ricky, wish i could have seen nick and james...total bummer i missed the 2 shows i could have catched.

[Scott Miller]

I wrote a song last week called "Wash your Face," but I think I need some new lyrics:

That grease all on your chin
I think I've seen that stuff before
That's that special dippy-do
Kid Ramos puts on his pompadour

[Strat-O]

Huh? :confused:

[Scott Miller]

Um... like, humor 'n' stuff... Allow me to change the subject or something... bought another Harmony... never mind... carry on...

[T. Caster]

Got my Hollywood Fats Band disc today...wow! Mo Napkins still on the way.

Dan

[Goldie295]

T.Caster,

I love that Fats disk. Was listening to it on the train into work this morning. Top stuff !!

Let me know how you find Mo Napkins as I'm thinking about picking it up myself.

Cheers
Phil

[HappyValley]

So,okI waited a day to let it all sink in...
I had the EXTREME pleasure of attending James Harman's show on Monday
night at Harry's Blues Bar in Hyannis on Cape Cod, It was a FANTASTIC night.
James was superbly backed by our own Nick "I got them all"Adams,Dave Armstrong on drums,and Mark Poniatowski on upright.
Man,the sensativity and control,the disipline the guys showed playing behind James was something to be seen! And when I call Nick "I got them all" well he does. From Willie Johnson to B.B.King,Hubert...yea man,the whole book! But especially the dynamics and attention to the details made it easy for James to just be James. And indeed he was. It wasn't an especially huge night (should have been),but James was really on.Added a visit by Jerry Portnoy wernt too bad either.
Hats off to Nick and the band for a GREAT Job. We should all have nights like that! Makes me want to work harder!!

Thanks so much, Ricky- It was a great week overall & we're already in the planning stages of doing it all again next year!

[RickyKing]

Thanks so much, Ricky- It was a great week overall & we're already in the planning stages of doing it all again next year!

N.P. man, just credit where credit is due....

[zappafrank]

Finally got photos loaded of most of my gear--
As you know I've been threatening to sell off some stuff---here's some for all of you WC threader's consideration---you guys get first look and such---nothing's etched in stone, so this is just a preliminary 'feel-out' to think about what I'm gonna do---

1998 USA 57' RI---I 'Mary Kaye'd' it---all gold hardware, even the intonation screws and springs (hate those black ones!)

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics022.jpg


1940-41 Gibson ES-100---all the needed work is DONE---plays great, sounds very unique--late 30' style V-ish neck---sigh---

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics055.jpg

1953 or 54 (can't remember) Epiphone Zephyr Deluxe Regent---I was told by PM Blues (store in Rhode Island, IIRC) that this was Duke R.'s---he had done all the necessary work to it---unbelievable neck--I may NOT let this go, I dunno fo'sure yet--

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics033.jpg

1980 ES-175---stamped "SECOND" (who knows why---I can't see or hear or feel anything 2nd class 'bout this one---I'm 2nd 'owner'---first guy put the Grovers on---I had to put newer pots on a couple V, T controls---they were sticky sticky (oh yeah, I did that to the ES-100 as well)

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics039.jpg

1966 Harmony 415 amp---2 x12"s Jensen C12 (S's?--R's?--I'll have to check!)--and they absolutely need reconing (or stick yer own in)---all other service is DONE--Tremolo is fan-freakin'-tastic--NOT a loud amp, but cool tone--I bought it after reading a 77'-78' interview w/ H. Fats where he stated he was using one then...Tolex is OFF and it is painted Black..

http://i66.photobucket.com/albums/h271/64strat/guitarpics003.jpg

That's it for now!

ac

[T. Caster]

T.Caster,

I love that Fats disk. Was listening to it on the train into work this morning. Top stuff !!

Let me know how you find Mo Napkins as I'm thinking about picking it up myself.

Cheers
Phil

Turns out I ordered "Extra Napkins" instead of Mo. It arrived today, will get back with my impressions after I have a chance to listen. I love Hollywood Fats! Also delivered today was Kid Ramos "West Coast House Party" which looks very promising.

Does anyone have anything to say about the Harmon disc "Strictly Live in 85"?

Dan

[zappafrank]

OK---one's I'm KEEPING!!!!---

1964 strat--refin,refret, replaced guard, all else original--

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics071.jpg


1965 ES330--- Headstock repair---just maybe the best blues tone I have in any of these guitars---that's up for some debate tho'--

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics046.jpg

1966 ES335--headstock repair--my #1 (along with that strat--can't make up my mind!)--this thing is the shiz, believe it---you can hear it on that Bott CD "Bott and Paid For"

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics059.jpg

200? Pee Wee Crayton Replica Relic 54' Strat put togeter by David Stewart 'specially for me--no relic bashing, please!--thanks to Don Mare's 'Watson' pickups, this one is finally a keeper and is getting LOTS of play at dives and 'questionable' gigs---which I play more often than not! LOL---

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics016.jpg

1955 ES-350---fully refinned---all else original-stoopid fine---I need to figure out how to tame the noise more, tho'---maybe an OOP push/pull? I do that all the other p90 guitars I've had/have. Put in brand new shielded wiring?? ---ANY ideas from you cats would be helpful!

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics050.jpg

1998 Gibson 56' RI--8.12lbs--you all know these--

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics001.jpg

2006 Parts Tele w/ Don Mare pickups---KBR got some exactly like these--Don---you are the MAN!!!!!!!!! Guitarmill body, Glendale bridge/saddles TOO big Allpats 'fat' neck---getting it trimmed and rolled a bit soon---never been a tele guy---this one changed my mind--

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics009.jpg

OK---that's enough---hope you guys dig 'em....

ac

[jimfog]

Does anyone have anything to say about the Harmon disc "Strictly Live in 85"?

Two words.....

awesome and essential

- Jim

[zappafrank]

Turns out I ordered "Extra Napkins" instead of Mo. It arrived today, will get back with my impressions after I have a chance to listen. I love Hollywood Fats! Also delivered today was Kid Ramos "West Coast House Party" which looks very promising.

Does anyone have anything to say about the Harmon disc "Strictly Live in 85"?

Dan

Extra, Mo', Strictly--all absolutely essential, IMO-I actually dig Fat's playing and the tunes even MORE than the Fats Band release---call me crazy---I just REALLY dig Fats--

ac

[jumpnblues]

I agree, all "Fats" stuff essential for any blues player. "Mo...", "Extra...", all the "Fats" band stuff. Michael Mann's certainly in my top five of all time.

Tom

[bluesjuke]

OK---one's I'm KEEPING!!!!---
















1998 Gibson 56' RI--8.12lbs--you all know these--

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics001.jpg





ac



That's next on my list and soon.
What an enabler you are.

[Schwalbe]

Sometimes i get reminded why I do this. There's just nothing like a good gig.


http://i10.photobucket.com/albums/a122/RockinDaddy/Gig%20shots/n93402057_31393767_593.jpg

[rhartt1234]

Sometimes i get reminded why I do this. There's just nothing like a good gig.


http://i10.photobucket.com/albums/a122/RockinDaddy/Gig%20shots/n93402057_31393767_593.jpg

Hey that's nice. Your granddaughters showed up for your gig.:)

[Schwalbe]

Hey that's nice. Your granddaughters showed up for your gig.:)

HA!!!!!!!! :rotflmao
Close rhartt. One of them's my niece.

[Strat-O]

Great guitar collection you've got there A.C.


Sooo, T-Caster, have you bought any Junior Watson? You think Fats is cool...


Any of you guys heard Billy Watson's "5 pesos"?

['56 Merc]

These have been here before but it says more about "Strictly Live in 85" than I can put into words.


http://www.youtube.com/watch?v=rAiflh4LWK4

http://www.youtube.com/watch?v=na5XVdxjAcw&mode=related&search=

[KBR]

AC,
Nice Guitars!
I would keep that big neck Tele with the Good Don Mare Pups!!!

How was the Gig last night?

Looks like we movin back to The Bay Area, Not enough here!

Hollywood Fats is a Monster player, for sure.
I got to play his 345 in Watts in 1979...
Great Bassman/tank, too!

[T. Caster]

These have been here before but it says more about "Strictly Live in 85" than I can put into words.


http://www.youtube.com/watch?v=rAiflh4LWK4

http://www.youtube.com/watch?v=na5XVdxjAcw&mode=related&search=

Those two vids were my first introduction to Fats, discovered on this thread not long ago, spurred my recent cd buying spree.

I've seen a few of the Jr Watson vids, will be investigating him too.

It's been great to be exposed to these marvelous players just at a time when I was looking for some new inspiration.

Here is another clip I found on youtube related to the Fats vids. http://www.youtube.com/watch?v=VjGBZdwp5Rk&NR=1



Dan

I'm really digging the Extra Napkins disc, guess I'll have to get Mo and Live in 85 too.

[mikelaw]

HA!!!!!!!! :rotflmao
Close rhartt. One of them's my niece.

THE HOT ONE! HAHA....KIDDING BRO. WAY COOL. IM ON A PLANE TO VISIT TOMORROW. :)

[mikelaw]

AC, the harmony amp...watt rating? 20 ish? 6l6's?

['56 Merc]

T. Caster, Igor is great. He posts here occasionally.

Which reminds me that I did not reply to him when he was asking about a Dillion gold top with Lollars, I think? I put 300K pots and .033 caps in mine and love it. Sorry Igor.

[Strat-O]

Nobody's heard Billy Watson's '' Five Pesos''?

Recent discovery for me. What a cool disc. The recording/engineering is killer. Great band and songs. Billy's a fabulous harp player...especially the chromatic; which is all over it. Junior Watson and Nathan James are on guitar and sounding KILLER. Tons of great instrumentals. The guest vocalist on track 3 doesn't do much for me though.

Obviously, I'm digging this one pretty hard right now. The new one "Blowin' Crow" (chro that is) is pretty cool too, but I like "5 Pesos" better....everything seems to come together just right in a killer groove.

[Poppa Stoppa]

Re Billy Watson I've not heard "Five Pesos" but dddelta turned me on to "Absolutely Live at the Rhythm Cafe" which is cool in a laid-back kinda way including the west coast-style 'Sunshine of Your Love'. At the late-night blues bar here we sometimes play that to quieten the crowd down at the end of the evening and follow it up with 'Albatross' (well if Dave Specter can do it so can we). That calms the calls for 'One More!' 'Just One MORE!!' (which are more a result of the drink than the playing I might add) and sends everybody home quiet & happy.

I hadn't seen this clip of William Clarke + John Marx before:
http://www.youtube.com/watch?v=4VM4HyFjinc
John Marx has a real nice tone with some rich overdrive going on.

[zappafrank]

AC,
Nice Guitars!
I would keep that big neck Tele with the Good Don Mare Pups!!!

How was the Gig last night?

Looks like we movin back to The Bay Area, Not enough here!

Hollywood Fats is a Monster player, for sure.
I got to play his 345 in Watts in 1979...
Great Bassman/tank, too!

Kenny--man, don't leave!---You just got here to Portland!---I haven't had any time to pick your brain and cop any licks! Too true 'bout not enough happening here to survive on gigs and such, but you can def teach (something I am NOT qualified to do, in my mind---I'd mess 'em all up!)
But you have true bonafides my friend and would be an assett around here---just give it some more time to think it over---aww hell---do what ya gotta do, but let's hook up for sure before you make the move back, if you have to go...


PS---Don't worry, the Tele's not going anywhere---just got to trim that neck to a .930 to .975 taper or so, then it will be perfct---I've been on a HUGE soul kick lately (O.V. Wright, Eddie Floyd, Stax, Otis Redding, Jackie Wilson, etc), so I'm going to need that sound---Don Mare nailed that pickup set, did'nt he?---I've tried to convince him to sell that exact spec as the KBR/AC Porter West Coast Connection set, or something similar---who knows?--It could happen!

All you roots/soul/R&B afficianados----Any killer soul/R&B music recs would be greatly appreciated---just trying to pick up better vocal approaches, and hear some new progressions and rhythms---and the s** is touching me deeply, I gotta say---I've heard a bit of cheese, but some AMAZING stuff lately---That Eddie Floyd 'Rare Stamps' CD is ridiculously cool (and OV, Otis too...)

Damn---I love discovering/re-discovering great music---of any kind!

ac

[yZe]

Hey, first post in here

Are there an representative benchmark tunes/grooves which best reflect the distinction of the "west Coast blues" sound from other styles around the union ?

[zappafrank]

AC, the harmony amp...watt rating? 20 ish? 6l6's?

Sorry to dissapoint ya, Mike---more like 14 watts--I think they are EL84's (2) in there---sounds GREAT, but not a loud amp by any stretch---I can play it w/ Bott and others playing quiet (like Princeton Volume)

Like I said, needs new speaks (or re-cone) and has FANTASTIC tremolo!!

ac

PS--I've answered all the fine and friendly PM's/emails, I think---let me know if I missed ya---seems like the 175 is catching folks' eye round here...I was saving the Mary Kaye for Backalley! LOL!

ac

[zappafrank]

And I'm a very sick sick man---here's some I forgot to post, and there's a couple more I don't have pics of yet---I'm a sad, terminal case! HELP!

Acoustics:

2007 Steve Patience Fatboy--his design, a cross between a Gibson 'Nick Lucas' and a Robert Johnson-ish L-0 (is that the model designation??) Seqouia Redwood top, Zircote B/S, Bloodwood accents, Ebony board--RICH tone with bluesy bite--sounds like nothing else I've heard, really, but I'm not that sophisticated re: acoustics

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics012.jpg
http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics011.jpg

2005-06 Breedlove OMM--Martin copy, Spruce/Mahogany/Ebony--

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics065.jpg

ac

[Schwalbe]

Nobody's heard Billy Watson's '' Five Pesos''?

Recent discovery for me. What a cool disc. The recording/engineering is killer. Great band and songs. Billy's a fabulous harp player...especially the chromatic; which is all over it. Junior Watson and Nathan James are on guitar and sounding KILLER. Tons of great instrumentals. The guest vocalist on track 3 doesn't do much for me though.

Obviously, I'm digging this one pretty hard right now. The new one "Blowin' Crow" (chro that is) is pretty cool too, but I like "5 Pesos" better....everything seems to come together just right in a killer groove.

Very interesting. Anybody have the Billy Watson and his International Silver String Submarine Band disc? I'm curious if the opening track "I Oughta Be Gone" is credited to ME since I wrote it. Course he spelled oughta as outta which of course should be correctly spelled as 'ought to'. Hmmm....
He also covers Mischo's arrangement of Lonesome Cabin so I reckon he's got a copy of I Can't Stop It, the second Blues Deluxe cassette.
http://www.billywatson.com/music.asp

[zappafrank]

And for any Jazzers---This thing is WAY too cool for me, so it's gotta go to a SERIOUS jazz cat's home, somehow--

Tony Duggan-Smith small-ish bodied archtop---too long of a story, but the very high-quality laminate maple wood came from James D' Aquisto's shop, and Tony is/was Linda Manzer's asst in Canada---great guy--I LOVE this guitar, but I was fooling myself thinking I'd have time and discipline to dedicate to hardcore Jazz playing---this deserves greatness---very 'Jim Hall' vibe--

http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics080.jpg
http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics079.jpg
http://i66.photobucket.com/albums/h271/64strat/AllMyGuitarPics078.jpg


ac

I need more SPACE---not more GEAR! AAAARGH!!!

[zappafrank]

Hey, first post in here

Are there an representative benchmark tunes/grooves which best reflect the distinction of the "west Coast blues" sound from other styles around the union ?

Welcome!!---That's probably the most succinct, distilled question that I've heard re: "What IS WC Blues?"---

---And one that is really hard to answer!

It's a 'blend', to me---of hardcore Chess/Excello (Robert Lockwood Jr./Dave and Louis Meyers/Jimmy Rogers/Slim Harpo/Luther Tucker) type electric blues of the late 40's thru mid 60's or so, jazzier 'uptown' stylings, like T-Bone Walker/Pee Wee Crayton/Charlie Christian/Tiny Grimes (again,late 30's thru 60's), razor-edged Texas/Southern early electric stylists (again T-Bone, add Gatemouth Brown, Guitar Slim, and def 50's era JOHNNY GUITAR WATSON)---occasionally throw just a touch of 'Bop' in there---add harmonica stylings of Sonny Boy II, LITTLE WALTER, George Harmonica Smith/James Cotton--

Skip to the late 70's-80's, when a few of these older cats were still around (and blues was DOA), and THEY influenced a whole slew of basically white dudes, and that's where all those older artists and styles truly began to get 'blended', IMO---thus, West Coast Blues, as many, though certainly not all hung out in California- LA in particular--and Central Avenue had been a real hotbed of Jazz, too, so throw THAT influence in there (again, Pee Wee Crayton comes to mind)---and you got:

William Clarke
Rod Piazza
Hollywood Fats
Jr. Watson
Little Charlie and the Nightcats
James Harman
Rick Holmstrom
Alex Schultz
etc, etc, etc---


hmmm---does that help??

ac

[yZe]

hmmm---does that help??

ac

Big time, thanks :AOK

That should get me on the trail

Any fave albums from that list of players which you consider represenative or hallmark ?

[rhartt1234]

Very interesting. Anybody have the Billy Watson and his International Silver String Submarine Band disc? I'm curious if the opening track "I Oughta Be Gone" is credited to ME since I wrote it.

Billy also does that tune on the live Mississippi Mudsharks CD. It is credited to "unknown"

[Schwalbe]

Billy also does that tune on the live Mississippi Mudsharks CD. It is credited to "unknown"
Thanks Ryan.
Interesting. Can't really mistake R.J.'s voice can ya?
I sent him an email, we'll see what shakes out.

[stevieboy]

Any fave albums from that list of players which you consider represenative or hallmark ?

I don't know about "hallmark" but I love William Clarke's albums, especially Groove Time, which features several guitar players, and Live in Germany, with John Marx on guitar.

[yZe]

I don't know about "hallmark"

Man thanks for the suggestion

by hall mark, I mean this def

hall·mark play_w("H0029000") (hôlhttp://img.tfd.com/hm/GIF/prime.gifmärkhttp://img.tfd.com/hm/GIF/lprime.gif)n.3. A conspicuous feature or characteristic:

Maybe I meant Landmark ???

[zappafrank]

Man thanks for the suggestion

by hall mark, I mean this def

hall·mark play_w("H0029000") (hôlhttp://img.tfd.com/hm/GIF/prime.gifmärkhttp://img.tfd.com/hm/GIF/lprime.gif)n.3. A conspicuous feature or characteristic:

Maybe I meant Landmark ???

I think William Clarke, and the guys on his CD's, really are a cornerstone of WC style blues---JMO---stevieboy is right on---I'd only start with a couple different Clarke options....

I really dig 'Blowin' Like Hell' (Alligator), and "Can You Hear Me Callin'?"---add "Tip of The Top"---If you can find those Clarke albums/CD's, you are there at apex---and at the beginning of the very long and winding road down to wallet destruction!---

ac

[T. Caster]

Hey, first post in here

Are there an representative benchmark tunes/grooves which best reflect the distinction of the "west Coast blues" sound from other styles around the union ?

I'm new to this thread myself, here are a few vids to give you an inkling of what's out there. (This is the more modern white guy stuff)

James Harmon with Hollywood Fats: Vid quality isn't great, but the playing is.

http://www.youtube.com/watch?v=rAiflh4LWK4&mode=related&search=
http://www.youtube.com/watch?v=na5XVdxjAcw&NR=1

Kid Ramos with Lynwood Slim:

http://www.youtube.com/watch?v=y-3ZjDPTJgQ&search=lynwood%20slim

Rick Holstom with Janiva Magness:

http://www.youtube.com/watch?v=wNJhwlTmCEI


Dan

[Schwalbe]

Thanks Ryan.
Interesting. Can't really mistake R.J.'s voice can ya?
I sent him an email, we'll see what shakes out.
I heard back from Billy, seems like a decent guy. Says he's been looking for me for nine years. He found the song on a cassette Tom Mahon had given him.
I told him a little about the origins of the song and the Blues DeLuxe tape it came from.

[Strat-O]

I heard back from Billy, seems like a decent guy. Says he's been looking for me for nine years. He found the song on a cassette Tom Mahon had given him.
I told him a little about the origins of the song and the Blues DeLuxe tape it came from.

Uh oh, I didn't mean to cause a problem!! :worried I've gone back and forth with him some by email. He seems like a good guy to me. I haven't heard anything but the last two discs. The laid back, fun approach is good. And so is the groove.


Man, that William Clarke clip is killer! Talk about a groove, his band always had a heavy groove!

[stevieboy]

Man thanks for the suggestion

by hall mark, I mean this def

hall·mark play_w("H0029000") (hôlhttp://img.tfd.com/hm/GIF/prime.gifmärkhttp://img.tfd.com/hm/GIF/lprime.gif)n.3. A conspicuous feature or characteristic:

Maybe I meant Landmark ???

I wasn't questioning your use of English, I know what you meant. I just meant with so much great stuff out there, and with probably everyone that posts here having very strong ideas about West Coast blues, I was just saying what some of my favorites are, and I didn't want to presume to define it for anyone.

[Goldie295]

West Coast listening material...

As someone who is relatively new to the genre myself I would recommend listening to these guys in this order, being sure to take your time with the music before moving on to the next player:

T-Bone Walker
Pee Wee Crayton
Hollywood Fats
Kid Ramos
Junior Watson
Rick Holmstrom
Howlin Wolf Sun Sessions (with Willie Johnson)
Charlie Christian

Cheers
Phil

[Goldie295]

I'm picking up the Narrow Panel Pro that has been made for me today. It's going straight to an outdoor jam at a Sunday BBQ. The H44 DLX and I are looking forward to it. :drool

Cheers
Phil

[HappyValley]

All you roots/soul/R&B afficianados----Any killer soul/R&B music recs would be greatly appreciated---just trying to pick up better vocal approaches, and hear some new progressions and rhythms---and the s** is touching me deeply, I gotta say---I've heard a bit of cheese, but some AMAZING stuff lately---That Eddie Floyd 'Rare Stamps' CD is ridiculously cool (and OV, Otis too...)

Damn---I love discovering/re-discovering great music---of any kind!

ac

Get some James Carr NOW!! I said NOW, dammit!! LOL ...Don Covay as well.....

[mikelaw]

james carr is great.

west coast blues in one song, and i know ryan will agree...modern that is. james harman and junior watson, off takin chances album. somebody (th'owd bad luck on me). check it out yze.

http://wm04.allmusic.com/cg/amg.dll?p=amg&sql=10:abfyxqtjld6e

click on the little speaker next to the track to give you a taste.

[stevieboy]

All you roots/soul/R&B afficianados----Any killer soul/R&B music recs would be greatly appreciated

Dalton Reed/Louisiana Soul Man

Johnny Adams

[jumpnblues]

Yeah, Johnny Adams is fabulous. Superbly arranged, played, and sung recordings. Great stuff.

Tom

[HappyValley]

Little Milton's material has a lot of great deep soul/ala gospel-esque vocals as well;Especially his later stuff.

[Strat-O]

james carr is great.

west coast blues in one song, and i know ryan will agree...modern that is. james harman and junior watson, off takin chances album. somebody (th'owd bad luck on me). check it out yze.

http://wm04.allmusic.com/cg/amg.dll?p=amg&sql=10:abfyxqtjld6e

click on the little speaker next to the track to give you a taste.


Cool man. I didn't own that Harman album and just ordered it a couple of days ago with an Amazon gift cert. I got for my birthday a few weeks back. I'm crazy about that tune "Crapshoot". Sounds like the rest of it is going to be killer too.

[Stringmaster]

Here's a few shots from Friday's Mighty Flyers gig in Carlsbad, CA. Great show as expected:

Henry C:
http://img61.imageshack.us/img61/6127/img1575tw9.jpg
http://img413.imageshack.us/img413/9002/img1577jq2.jpg
Henry's Rig:
http://img59.imageshack.us/img59/5347/img1572tg1.jpg
Yeah Honey!
http://img338.imageshack.us/img338/3772/img1582ql1.jpg
Rod:
http://img75.imageshack.us/img75/7101/img1587xy8.jpg
Rod and crew:
http://img116.imageshack.us/img116/3139/img1574mi0.jpg
Rod Cruzin':
http://img258.imageshack.us/img258/7729/img1581sb9.jpg
I see twelve 10" and 200 watts isn't enough for Rod anymore:
http://img404.imageshack.us/img404/89/img1584qp4.jpg

[Dave Orban]

I dunno... don't look right (and probably don't sound the same) without Stuve...

[Greentone]

I dunno... don't look right (and probably don't sound the same) without Stuve...

+1
A buddy of mine made a tape of a show from a few months ago. Its a total train wreck without a bass player. Honey plays okay, but that music just needs a great player like Stuve. Its just the Rod and Honey Show these days:rolleyes:

[DonM]

Nice
hey That Guitar with the Chrome hardware is Getting new pups here this week, The HC endorsed prototypes based On Watsons but specs altered for Henrys touch and demands -- the other Strat with Gold hardware not pictured, thats mine its on Loan - that one has Swing0Tones in it.

very nice shootin there!

[Schwalbe]

Uh oh, I didn't mean to cause a problem!! I've gone
back and forth with him some by email. He seems like a good guy to me. I
haven't heard anything but the last two discs. The laid back, fun approach
is good. And so is the groove.

No it's cool man. In fact I should say thank you. Thank you Strat-O. Billy and I have been emailing back and forth. He never had any info on who wrote the song. I know there are plenty of short run independent releases that never get around to royalties. It used to happen more often pre internet.
Years ago Blues DeLuxe wanted to cover a Jim Lyban tune called Must Have Been Dreamin'. We heard it on a cassette of tunes that Jim had sent to Pat
Hayes for the next Lamont Cranston project. Kid Morgan was in the Cranston's at time and was Mischo's room mate. That's how we had access to the tape. R.J. called Lyban to ask what he wanted to record his song. Jim told him just make sure he's listed in the credits, the more people playing his stuff the better. He apparently wasn't interested in the mechanicals, which wouldn't been much on a 500 piece cassette release.
So it's alright so long as as I get credit. I'll look for money if one of my songs actually starts to do something.

[mikelaw]

12- 10"s plus another amp now. i know its an outdoor gig, but.............

GOOD GOD!!!!!!

[zappafrank]

Get some James Carr NOW!! I said NOW, dammit!! LOL ...Don Covay as well.....


Will do, my man, will do!

Thx!

ac

[afenderman67]

anyone interested in a 1965 all original fender vibrolux reverb amp?

its real clean!

its a friend of mine's amp, he wants $2350 for it!



chris

[S.W.Erdnase]

12- 10"s plus another amp now. i know its an outdoor gig, but.............

GOOD GOD!!!!!!

It's insane. What's wrong with a single combo for "the tone" and as a stage monitor, with a mic for the PA?

[jetlag]

Last time I saw Rod - with Stuve still in the band - he was running two of those 6x10 harpkings inside the Grand Emporium. He totally blasted the place and made the whole band play so damn loud to keep up with him it was ridiculous. Ruined their dynamics and interplay - it was like watching five people scream together in unison. I'm with S.W. - Rod should use one of those amps (preferably their 4x10). If he doesn't want to trust house monitors buy one of those Bose PSA stick things and run it thru that. Those things work great for that kinda stuff - real uniform volume and coverage. Maybe if he sold off a few amps he could afford a bass player.

Hey AC, Mark Dufresne came out and sat in with us last night (and with my other band Friday night). He talked about playing some gigs with you and Bott. Was it the Delay tribute stuff you all played together?

[Strat-O]

Maybe if he sold off a few amps he could afford a bass player.



:dude

[aja]

Not sure if this was posted but here's some Tiny Grimes.
http://www.youtube.com/watch?v=93EIw41FOFo

[T. Caster]

Not sure if this was posted but here's some Tiny Grimes.
http://www.youtube.com/watch?v=93EIw41FOFo

The man swings!

Dan

[RickyKing]

Not sure if this was posted but here's some Tiny Grimes.
http://www.youtube.com/watch?v=93EIw41FOFo

IMHO T.G captures alot of what I consder to be a "West Coast" Thing...

[TwoFeets]

that clip never, ever gets old.

[groove_king]

In the Tone Quest interview with Junior Watson, Watson plainly states Rod's game plan was mucho volume early on. Watson joined the band and had a tweed Pro (or something) that was the shit. After the first set Rod comes up to him and says "You sound great five feet from your amp, but you need to fill the room". Rod went and fetched a tweed Twin and a tweed Bassman (I think) for Junior and told him to keep up. Watson said that it ruined him!

Dunno .. maybe Rod's deaf? How's his tone? Too much treble is a dead giveaway of loss of hearing ... Firing the bass player is prolly another one - "What am I payin' him for? I cain't hear dem fequencies anyway!"

[groove_king]

Oh yeah, Rob, I got your email. Can you give me a few days to throw something together? I'm busier than a one-legged man in an ass-kicking competition this week.

[mikelaw]

rods tone is SICKLY good. up there with wilson for sure.

[Dave Orban]

rods tone is SICKLY good. up there with wilson for sure.
Most definitely.

Don't understand going out without a bass, though. I mean, I like Honey and all that, but REALLY...!!!

[Stringmaster]

Well, I have to say, I long for the old days too with Stuve, Watson, Schultz, Holmes, etc., but for this venue--they killed. Rod's tone was the best, and appropriate for the large outdoor setting. I don't believe the masses were even aware that there was no bassist.

And, I wouldn't say this particular show was simply the Rod and Honey show--Henry did some singing/slinging and Rod left the stage. The band with horns did some instrumentals without Rod, midstream in a song Rod grabbed one of the sax players horns, placed it in the stand, and handed him his harp/mic to solo with, and later he called up a friend to play some harp too. We could probably pic apart the act from a muscians standpoint or compare to the past, but I have to say that the overall presentation, from the lay-persons view was awesome--and in many ways that's what it's all about. Kudos to them for selling our music to the general public--it's cool to see folks of all ages--kids included, up on their feet dancing, cheering, etc. But yeah, I still miss the old days FWIW!

[TwoFeets]

Oh yeah, Rob, I got your email. Can you give me a few days to throw something together? I'm busier than a one-legged man in an ass-kicking competition this week.

No worries, man - both of us are basically gonna be out of town until next week anyway!

[KBR]

I subed for JR Watson in Rod's band way back (79)? not sure of the Year, and Rod has Incredible Tone, and phrasing.
I put Rod in with Kim, Bill Clarke, and James's (Cotton & Harman)
as my Favorite Harp men.

[Strat-O]

In the Tone Quest interview with Junior Watson, Watson plainly states Rod's game plan was mucho volume early on. Watson joined the band and had a tweed Pro (or something) that was the shit. After the first set Rod comes up to him and says "You sound great five feet from your amp, but you need to fill the room". Rod went and fetched a tweed Twin and a tweed Bassman (I think) for Junior and told him to keep up. Watson said that it ruined him!

That was Rick Holmstrom that said all that..not Junior Watson.


Rod's early stuff is sick. I do enjoy the later live stuff for the most part but back in the late 70's/early 80's, I've heard some killer stuff. I don't mind his vocals that much either. Its the studio albums that I've heard that I don't like.

[Strat-O]

Harp Player Advice Needed:

What would you harp fella's suggest for an 8" speaker in a 4x8 harp amp? There's actually a pretty good selection of new 8" speakers out there now. Can anybody make suggestions for something killer?

[mikelaw]

through trial and error in my own taste i like high powered ceramic speakers for any size. wilson is the same way as our some other guys BUT it all depends on your taste, YOUR ears and your application. if its for recording i say alnicos that break, if its for live mostly high wattage ceramics.

if its for all applications, you have FOUR chances to try stuff in a 4-8" cab. so go for 2 alnicos up top and 2 high wattage ceramics down low. its a no brainer with 4 options to buy at least 2 different style speakers.

[Strat-O]

you can get 8" speakers in british design now. would 8" british style speakers be good for harp.

this is a gift for a buddy so I'm flying by the seat of my pants on this.

[S.W.Erdnase]

through trial and error in my own taste i like high powered ceramic speakers for any size. wilson is the same way as our some other guys BUT it all depends on your taste, YOUR ears and your application. if its for recording i say alnicos that break, if its for live mostly high wattage ceramics.

if its for all applications, you have FOUR chances to try stuff in a 4-8" cab. so go for 2 alnicos up top and 2 high wattage ceramics down low. its a no brainer with 4 options to buy at least 2 different style speakers.

I'd agree with that. The ceramics are a better option for a harp player who has some decent experience with amplified harp playing. The alnicos are a good choice to get a generic Chicago break up - it's more the amp doing the work (with of course input from the player's technique).

I think the ceramics allow you to define your tone through your own acoustic tone, attack and choice of microphone a lot better. You can get a tighter, more horn-like tone.

Having said that, my current amps all have Weber alnicos. I'm happy with the Pro and Super, but I have a custom tweed Princeton with a ten in it and I have been jonesing for a ceramic in it to move it away from the overly Champ voicing. I want a tighter BARK, rather than a distorted BLAT.

Pass the Cabernet Malbec...

[S.W.Erdnase]

you can get 8" speakers in british design now. would 8" british style speakers be good for harp.

this is a gift for a buddy so I'm flying by the seat of my pants on this.

https://taweber.powweb.com/weber/csig8s.htm

[Goldie295]

Goldie295 - my vote would be for a 5E5A clone (treble, bass, presence) but with a cathode bias switch to allow you to kind of simulate an earlier pro circuit. I really like it with the cathode bypass cap ommitted or switchable in/out to really accentuate the CB sound. I'd also start looking for an old P15N. I think you'll find the pro much more useable for the majority of your club work compared to a bassman.

Jetlag,

I just want to say a very big thank you for this bit of advice (given a few weeks back). I took it and had the pro built for me with the cathode bias switch you suggested.

All I can say is wow. My amp tech was really suprised at the results of this switch and whoever said it would give that WJ sound was spot on. With the switch off I have a normal pro sound (which is to die for on its own) but with the switch on (activated by a pull on the treble) all H breaks loose. It is like a 200% boost or something it just sound like that early chicago sound without having to do anything with the eq. Gets louder too which I didn't expect.

It was great at an informal Sunday bbq jam and I am playing the Didcot Blues Festival with it on Saturday week so I'll give it a better going over there with other guitars and the reverb tank, but with the H44 DLX it was a real beast. Can't wait to hear how it will sound with the 295...

So thanks again to you all for your suggestions. If I hadn't found this board I wouldn't have had the Pro made (TwoFeets confirming his amp on the JuiceHeadBaby clip was what finally did it for me) and I have you guys to thank for that as it has made a huge difference and given me a real step forward.

Thanks guys
:BEER
Cheers
Phil

[dddelta]

Who builds/makes your amps for you Phil?
It would be good to know a reliable builder here in the UK you can trust.
Was the Pro a kit version? What Speaker did you decide on?
Any pics?

[S.W.Erdnase]

This looks like a cool 8 for harp...

https://taweber.powweb.com/weber/cvc8.htm

[Strat-O]

That is cool. I may give that one a run and see how it turns out.

[mikelaw]

Also, think about all the great harp amps being made now. sonny jr,harpking...sonny has at least 2 out of 4 speakers ceramic. harpking 4-10 and 6-10 both have ALL ceramics in them i think! if i remember correct.

sonny made kim an amp ages ago--1-12, custom tweed cab says KW on it. sonny told me he gave it to kim and the first thing kim did was change the speaker to a c12K 50 or 100 watt ceramic or whatever is in there. he used the amp on the entire my blues sessions which is my favorite work of his. most of it is kims technique but there is a perfect case of something he likes working for him. i like to try stuff out. usually after 2 notes i can tell if i like it or not.

[mikelaw]

photo from jw jones site with that amp of kims... he also used the thing on the sessions he did with jw as well. im willing to be he has used it for even more recordings as well.

http://img410.imageshack.us/img410/9734/bandkimgn8.jpg (http://imageshack.us)

[Swingblues]

Hi Guys,

My new cd is avaible right now in US:
www.pacificblues.com (http://www.pacificblues.com)

(Check this out...)


All the Best
Igor Prado
www.igorpradoband.com (http://www.igorpradoband.com)
www.myspace.com/igorprado (http://www.myspace.com/igorprado)
www.pradobluesband.com (http://www.pradobluesband.com)

[Goldie295]

ddelta,

I have PM'd the builders telephone number to you. He doesn't have a website - or internet access in fact... Not really his thing.

The amp was not built from a kit, just a dusty schematic he had and other details. I think he also had a look at an original one.

He builds the cab and the chasis in his back garden shed before putting all the electrics together in his workshop (spare bedroom of his house). He has been doing all of this stuff since back in the day so he doesn't see it as much of a big deal to put tweeds together - just don't expect all the cosmetic stuff like screen printed labels (vol, treble etc) or a jewel light (I asked for one once and he said: "wouldn't bother with one of them Phil, a plastic light does the job just as well and you'll save £1.80"... (about $3)...

...I was going to argue but thought..you know what he's right.

He now does jewel lights and the screen printing in-house, but I asked him to do mine like he used to as I kind of like it looking homemade (I also have a Deluxe and Bassman he built). And in fairness it is only the panel anyway, and only the player ever gets to see it. Everything else is spot on.

I didn't manage to find an old speaker so he put a standard P15R Jensen in the cab. To my ears it sounds great. If an old one comes up he said he'll swap it for me but I'll probably stick with what I have. He's also put a few interesting tubes in there (some nos) including what he called a coke bottle tube (whatever that is).

Considering retail UK prices for this sort of amp (the Victoria 115 is around £2,300 if you can find one) the £750 'all in' he charged me is deal of the century as far as I'm concerned. And the fact he built it within three weeks of my order was also cool as I hate waiting for stuff !!

Cheers,
Phil

[jetlag]

Jetlag,

I just want to say a very big thank you for this bit of advice (given a few weeks back). I took it and had the pro built for me with the cathode bias switch you suggested.

All I can say is wow. My amp tech was really suprised at the results of this switch and whoever said it would give that WJ sound was spot on. With the switch off I have a normal pro sound (which is to die for on its own) but with the switch on (activated by a pull on the treble) all H breaks loose. It is like a 200% boost or something it just sound like that early chicago sound without having to do anything with the eq. Gets louder too which I didn't expect.

Thanks guys
:BEER
Cheers
Phil

Glad your amp project worked out so well for you Phil. I too amp surprised that you are getting a "boost" with the CB engaged. Typically, it knocks power and thump down to about 70% of the stock circuit. You might have your tech double check the bias in each mode. But again, glad you are digging your new amp. BTW - activating that feature with a treble "pull" is a cool idea.

[Ryguy]

AC:

you asked about some good soul/R&B recommendations a few pages back, so I'll throw a couple out at you that you might night have:

Anything by Ann Peebles or Otis Clay. Sounds like most of the other Stax stuff, but they both do there thing reallllly well. Great singing, arrangements, guitar playing, etc.

Also, Syl Johnson has some really killer stuff if you can track it down.

Finally, this is a bit different, maybe glitzier, but some of the deepest music you'll ever hear: Donny Hathaway. Both "Everything is Everything" and his live CD (with Cornell Dupree on guitar) are really, really, good.

BTW, i think I said it before, but Lloyd Jones had one hell of a collection of Soul LPs. That's how I got turned on to Ann Peebles and Otis Caly in particular.

[Cleanhead]

All of this talk about Rod Piazza reminds me of my last Mighty Flyers show... It was in Atlanta at Blind Willies (4 years ago)... Unfortunately I only lasted 3 songs... Not only was it unbearably loud but Rod's solo on Southern Lady was "not for note" the same as his work on Live at BB Kings... I just was not diggin the line-up or the vibe...Of course, HE will always remain one of the modern greats but for my taste, I seem to appreciate the others mentioned on this list - especially the longer I play this instrument...

As for acoustic tone, I heard Rod play acoustically only once and to be honest it did not sound nearly as "full" as say Wilson, Mischo, Clarke, Guyger, Oscher, Primich or Estrin... It has been my belief (and this may be wrong) that a large part of the "Rod piazza sound" came from his monstrous rig and crystal mic...

Oh, and as far as tone goes, have JETLAG tell about his experiences backing Little hatch in Kansas City - that man was diminutive in stature but had some of the biggest tone I have ever heard...

Kurt

[btg]

The some Little Hatch track on a CD called Texas Harmonica Rumble that were cool. I have two other records on with a full band and one is an acoustic record. They are not as good as the live cuts though. Did he have anything else out.

BTW, the subject of Joey Long came up the other in regards to the other guitar player on some later T-Bone records. Joey was the guy Billy Gibbons was singing about in "I'm Bad, I'm Nationwide" according to a recent interview in Guitar World. I had heard that before but had forgot about it until I read it the other day.

[Poppa Stoppa]

...Finally, this is a bit different, maybe glitzier, but some of the deepest music you'll ever hear: Donny Hathaway. Both "Everything is Everything" and his live CD (with Cornell Dupree on guitar) are really, really, good...Funny, I was listening to both of those yesterday. 'Live' cannot be beat for in-the-pocket drums, bass, guitar and keys. That song 'The Ghetto' - what an amazing vibe, one of the greatest riffs ever. Even though it's just a 2-chord vamp all the way through.

And that's before you get to realising what incredible positive statements for pride in a disadvantaged community Donny was making with that music. Man the whole world could do with more of that kind of thing right now.

[TwoFeets]

I know some guys had mentioned earlier in the thread possibly being interested in the '59 Bassman pedal. I came across one today and messed around with it for a short time while I was on my lunch break.

I only had about 15 minutes with it but my impression of it was this: if you are already running a decent tube amp, like most of us are, buying this pedal to use strictly for boost purposes would be like swatting a fly with the proverbial sledgehammer. It is simply too busy to use just for that. Maybe if there was a way to disengage the EQ section on the pedal and use only the gain/level control; I don't believe that was an option though. What you get is the equivalent of one tweed tone stack on top of another. It's just overkill, and the tone suffers. You'd be better off with a pure boost pedal.

Running it through kind of a lousy solid state amp, the results were much better. It did improve the tone quite a lot both in terms of warmth and complexity, although there is still definitely a digital element there. It might just save your arse on the road if there is going to be a provided backline that might be a solid state amp. If you're familiar with the Bassman setting on the Cyber Twin at all, this pedal sounds to my ears like someone took that exact program and stuck it in a pedal. It's not exactly a '59 Bassman by any stretch of the imagination, but if you play around with it, you can get some usable tones.

The store had the '65 Deluxe Reverb pedal too but I didn't have time to try it out.

[jetlag]

On a soul note, I'd have to include O.V. Wright. I just love that guy.

Yeah, Provine "Little" Hatch was really special. That guy probably weighed 140 lbs but had a commanding voice that really sounded like it came from Mississipi (which it did) and a huge harp tone. His two acoustic CDs for APO at Blue Heaven studios were well into his decline. His live '88 Modern Blues recording Well Alright is pretty good and pretty representative of his playing at that time. The band is good but, perhaps, not WCB approved. At least they follow him perfectly when he breaks form (nearly every song). Then the live Antones stuff - I don't really remember but I think the Antones band didn't/couldn't follow him when he broke form. I believe I recall him bitching about that and about young guys in the audience writing stuff down in notebooks while he played - "stealing my sh@t." There is a rare German release of The Little Hatchet Band that is pretty interesting. It was recorded live by German students in 1971 in Kansas City and released mostly in Germany and Belgium. Phonics are pretty rough and the record really features the guitar of Leon Estelle more than Hatch's harp playing. Leon smokes on it.

[Lewy]

Jetlag,

I just want to say a very big thank you for this bit of advice (given a few weeks back). I took it and had the pro built for me with the cathode bias switch you suggested.

All I can say is wow. My amp tech was really suprised at the results of this switch and whoever said it would give that WJ sound was spot on. With the switch off I have a normal pro sound (which is to die for on its own) but with the switch on (activated by a pull on the treble) all H breaks loose. It is like a 200% boost or something it just sound like that early chicago sound without having to do anything with the eq. Gets louder too which I didn't expect.

It was great at an informal Sunday bbq jam and I am playing the Didcot Blues Festival with it on Saturday week so I'll give it a better going over there with other guitars and the reverb tank, but with the H44 DLX it was a real beast. Can't wait to hear how it will sound with the 295...

So thanks again to you all for your suggestions. If I hadn't found this board I wouldn't have had the Pro made (TwoFeets confirming his amp on the JuiceHeadBaby clip was what finally did it for me) and I have you guys to thank for that as it has made a huge difference and given me a real step forward.

Thanks guys
:BEER
Cheers
Phil

Of course, I'm sure you're also eternally grateful to the person who put you on to said amp doctor, and who now has to wait to get his own stuff done because said tech is always too busy building stuff for you!!!!

Just kidding - glad you're loving the Pro. John will be Hoffman-izing my Bassman LTD when he gets back from hols (he doesn't know it yet, but he will be ... !)

[S.W.Erdnase]

photo from jw jones site with that amp of kims... he also used the thing on the sessions he did with jw as well. im willing to be he has used it for even more recordings as well.

http://img410.imageshack.us/img410/9734/bandkimgn8.jpg (http://imageshack.us)

Great pic.

Wilson used an old Gibson amp on the "Tigerman" CD that Sonny rejuvenated. Usually he gigs live with two amps, a brownface pro and something tweed, though I understand lately he has been using one of Scooter Berberian's "Meteor" amplifiers, with a 12 and two tens. If you listen to the mpegs on Scooters site, the tone is ALL there and - to my ears - better than the Sonny Jnr 1 & 2 amplifiers (though I understand Sonny's Bassman project has got THE TONE).

My favorite KW tone is off of "Ludella" and "Pinetop's Boogie Woogie", two Antone's CDs with KW backing Jimmy Rogers and Pinetop Perkins, respectively. I met Wilson once and he raved about that amp - a 1950s Pro with "a big ass square magnet on the back of the speaker." He said it unfortunately lost its mojo straight after the Pinetop sessions.

But I also like the first two Fab T-Birds LPs for harp tone, and they just used a tweed Super and/or a Bassman, with an Astatic ceramic element mic.

[mikelaw]

this is killer, troy gonyeas rock band- the howl. i love these guys!

http://www.youtube.com/watch?v=MKsR3e-WYjc

[T. Caster]

A question for those who primarily play the west coast style... assuming the band plays well, does it limit your options for places to gig? Does this depend on locality? Is it an uphill battle, trying to compete with the more contemporary sounding stuff, or can it actually be an advantage, something to set you apart from the rest of the field? Seems like there is an unwritten law, that the cooler the music is, the harder it is to find a place to play it in. Just wondering if this holds true here too. Thanks for your responses.

Dan

[TwoFeets]

A question for those who primarily play the west coast style... assuming the band plays well, does it limit your options for places to gig? Does this depend on locality? Is it an uphill battle, trying to compete with the more contemporary sounding stuff, or can it actually be an advantage, something to set you apart from the rest of the field? Seems like there is an unwritten law, that the cooler the music is, the harder it is to find a place to play it in. Just wondering if this holds true here too. Thanks for your responses.

Dan

You know, that's an interesting question. For the most part, I think our band could work just as much as we wanted to. The real problem is finding places that pay. Seems that most club owners haven't the foggiest idea of the distinction between West Coast (which is a misnomer anyway, but that's another discussion entirely) and any other sort of blues. Most places, if you mention you play blues, in their mind you get automatically lumped into the same bag as every Tom, Dick and Harry band that will come in and play bad Hendrix and Allmans covers very loudly for beer plus a couple of bucks for gas.

In short, I think for the most part there is a certain level of quality and attention to detail - and dynamics - that is shared across the board by most traditionally grounded blues bands. This is what sets them apart and makes them different from your garden variety bar-blues band. The real uphill battle is convincing club owners of this difference, that the better product deserves a better price, and that ultimately it should pay for itself in the end by bringing in more patrons, driving fewer away, and paying dividends at the cash register. Nobody wants to play for free.

[Scott Miller]

Hey Igor, looks good. I'll snag it when I get back from out of town. I think I told you how impressed RJ was with you guys.

[Goldie295]

Of course, I'm sure you're also eternally grateful to the person who put you on to said amp doctor, and who now has to wait to get his own stuff done because said tech is always too busy building stuff for you!!!!

Just kidding - glad you're loving the Pro. John will be Hoffman-izing my Bassman LTD when he gets back from hols (he doesn't know it yet, but he will be ... !)

Ha, ha ! Well put. Yes eternally grateful and all that, though I believe my debt was repaid when I sent you the link to this forum so...quits then??

:BluesBros

Glad you found the Bassman btw as I seem to have permission to keep mine so I would have been sorry to see it go. When you hear the Pro though...you're gonna want one...so better start saving !!

BTW, John is going to be busy when he gets back from hols as he has already agreed to build me a Tweed Twin and a Leslie Cabinet...

...only kidding !!... :D

...though he has offered (if only I had the $pondoolies and storage space at home)...

...actually, I am considering having John convert my Bassman to Pro spec with the 4x10 a la Jr Watson of sometime ago (see link (http://xoomer.alice.it/augiuliv/amps/artists.html#watson)). He says it wouldn't be too much work. Something you might like to consider??

[See here (http://xoomer.alice.it/augiuliv/amps/artists.html) btw for various other Blues Players Set-ups - same as Watson page - cool link]

Cheers,
Phil

[zappafrank]

Ha, ha ! Well put. Yes eternally grateful and all that, though I believe my debt was repaid when I sent you the link to this forum so...quits then??

:BluesBros

Glad you found the Bassman btw as I seem to have permission to keep mine so I would have been sorry to see it go. When you hear the Pro though...you're gonna want one...so better start saving !!

BTW, John is going to be busy when he gets back from hols as he has already agreed to build me a Tweed Twin and a Leslie Cabinet...

...only kidding !!... :D

...though he has offered (if only I had the $pondoolies and storage space at home)...

...actually, I am considering having John convert my Bassman to Pro spec with the 4x10 a la Jr Watson of sometime ago (see link (http://xoomer.alice.it/augiuliv/amps/artists.html#watson)). He says it wouldn't be too much work. Something you might like to consider??

[See here (http://xoomer.alice.it/augiuliv/amps/artists.html) btw for various other Blues Players Set-ups - same as Watson page - cool link]

Cheers,
Phil

Great links, there Phil!--(BTW, I'll respond to yer last email later---I rarely check that email addy and I forgot!)

I have Rick Holmstrom's old Victoria he had made to be as close to Watson's as possible---4-10" w/ Pro electronics---he used it for 5 years or so on the road w/ Piazza---it's a great amp, especially after I had the Kendrick add-on 3-knob reverb Rick had put in there YANKED OUT!---I NEVER liked that thing---sounds WAY better w/ a reverb tank (Premeir, at the monment...) in front of it.---Anyway, it's a cool amp that I don't get too often of a chance to play out w/ lately---even though it's NOT as loud as a Bassman!---The Carr and the Clark get most gig duty this past year or so...



PS---Thanks for ALL the Soul suggestions---I'll look for Ann Peebles---I have some Otis Clay and O.V. Wright---love that stuff!

ac

[zappafrank]

You know, that's an interesting question. For the most part, I think our band could work just as much as we wanted to. The real problem is finding places that pay. Seems that most club owners haven't the foggiest idea of the distinction between West Coast (which is a misnomer anyway, but that's another discussion entirely) and any other sort of blues. Most places, if you mention you play blues, in their mind you get automatically lumped into the same bag as every Tom, Dick and Harry band that will come in and play bad Hendrix and Allmans covers very loudly for beer plus a couple of bucks for gas.

In short, I think for the most part there is a certain level of quality and attention to detail - and dynamics - that is shared across the board by most traditionally grounded blues bands. This is what sets them apart and makes them different from your garden variety bar-blues band. The real uphill battle is convincing club owners of this difference, that the better product deserves a better price, and that ultimately it should pay for itself in the end by bringing in more patrons, driving fewer away, and paying dividends at the cash register. Nobody wants to play for free.

Bravo, man--VERY well said!:)

ac

[Lewy]

...actually, I am considering having John convert my Bassman to Pro spec with the 4x10 a la Jr Watson of sometime ago (see link (http://xoomer.alice.it/augiuliv/amps/artists.html#watson)). He says it wouldn't be too much work. Something you might like to consider??


Hmmm...interesting, although remember I need the amp for The Kickback too, so it can't be too esoteric sounding.

[Goldie295]

I have Rick Holmstrom's old Victoria he had made to be as close to Watson's as possible---4-10" w/ Pro electronics...it's a great amp...though it's NOT as loud as a Bassman!---

ac,

Not as loud as a Bassman, but would you say it is louder than a stock Pro ?

Cheers,
Phil

ps Lewy, fair enough to keep it stock if you need it for the 'dayjob' gig.

[aja]

Just a reply on that Junior Watson article:

"Lost in America" IS one of the best Junior Watson recordings AND Lynwood Slims recordings ,a friend just burnt that for me. Killer stuff for sure.

[Dave Orban]

You know, that's an interesting question. For the most part, I think our band could work just as much as we wanted to. The real problem is finding places that pay. Seems that most club owners haven't the foggiest idea of the distinction between West Coast (which is a misnomer anyway, but that's another discussion entirely) and any other sort of blues. Most places, if you mention you play blues, in their mind you get automatically lumped into the same bag as every Tom, Dick and Harry band that will come in and play bad Hendrix and Allmans covers very loudly for beer plus a couple of bucks for gas.

In short, I think for the most part there is a certain level of quality and attention to detail - and dynamics - that is shared across the board by most traditionally grounded blues bands. This is what sets them apart and makes them different from your garden variety bar-blues band. The real uphill battle is convincing club owners of this difference, that the better product deserves a better price, and that ultimately it should pay for itself in the end by bringing in more patrons, driving fewer away, and paying dividends at the cash register. Nobody wants to play for free.
Well said.

Our experience has been pretty good, aided, I would think, by the attention we try to give to the bar/club patrons. If you make them feel "good" -- you know, feeling like they're actually being "entertained" as opposed to just listening to extended wankage -- they tend to stay longer, spend more money, and everyone goes home happy. And we get asked back...

[T. Caster]

A question for those who primarily play the west coast style... assuming the band plays well, does it limit your options for places to gig? Does this depend on locality? Is it an uphill battle, trying to compete with the more contemporary sounding stuff, or can it actually be an advantage, something to set you apart from the rest of the field? Seems like there is an unwritten law, that the cooler the music is, the harder it is to find a place to play it in. Just wondering if this holds true here too. Thanks for your responses.

Dan

Thanks for the responses so far, anyone else have comments?

Dan

[Strat-O]

For the most part, nobody cares about traditional (a.k.a. "West Coast") blues anymore. Folks think its cool for a few songs, then they want to hear the Allman Bros., Clapton, Whitesnake, Hendrix, etc. And this is reflected by the sad state of blues bookings and compensation across the USA these days. W