West Coast Blues Thread - Version 2.0

[Scott Miller]

Fun. Pah! Blues not fun. Blues tough sad bad macho hit high note many times in a row meedle-meedle-meedle and show audience tonsils.

[musicofanatic5]

well, yes, there's that side of it, too...

[GOLDENSTRAT]

Feets, I picked up a 60's Jet about a month ago and really like it. The volume is good, maybe not as much bass output as a pro jr.? The trem is a bit too intense but that could be adjusted by an amp tech I bet. Mine has the alnico Jensen speaker - I would compare it to a brown face era Deluxe I guess- at 1/3 the price. fred

[monstermike]

Hey everybody -

Just a heads up that "Cryin' Hey!" is now on CDBaby. Listen! Enjoy! And hopefully purchase.

Love to all.

M

[valcotone]

Just a heads up that "Cryin' Hey!" is now on CDBaby. Listen! Enjoy! And hopefully purchase. Love to all. M


PacificBlues just got a few more copies too... well, less the 1 that's on the way to me right now along with a couple from Knockout Greg. Can't wait to hear it!

[dukeh62]

Hey everybody -

Just a heads up that "Cryin' Hey!" is now on CDBaby. Listen! Enjoy! And hopefully purchase.

Love to all.

M

I can attest...Mike plays his ass off on this one.

[groove_king]

I can attest...Mike plays his ass off on this one.

Hell yeah! I've only listened to the clips on CDBaby ... my lord ...

Mike, while your guitar tone and style is ... ummm 'monsterous' (sorry), your vocals are superb. It sounds like you're channelling Otis Rush on the first cut. Not aping ... channelling.

Well done, sir!

[Dave Orban]

Go Mike...! :dude :dude :dude

[groove_king]

Hey Dave

You and I have a keyboard player in common .. the one and only Leo Joseph ..

He lives in Canberra, Australia now and he and I play in a few bands together. Great player and cool guy ...

[valcotone]

I'm listening to Junior Wells Live At Theresa's 1975 right now... what a killer recording! Nice band too. Anyone else pick this up yet?

[jimfog]

I can attest...Mike plays his ass off on this one.

My fave blues cd in a while..........Mike plays and sings his ass off.....AND is only getting better (which is scary).

I'd love to hear him sing some of the tunes he wrote for that Sugar Ray disc (another fave).

.........AND I made my band listen to it, so they could hear what a good modern blues recording SHOULD sound like!

Buy Now!

- jim

[Strat-O]

Sean - I ordered it today. I can't wait to get it. I'm glad to hear its a good recording too. Who's the band?

[Dave Orban]

Hey Dave

You and I have a keyboard player in common .. the one and only Leo Joseph ..

He lives in Canberra, Australia now and he and I play in a few bands together. Great player and cool guy ...
Talk about a small world...!

Leo is THE shit, and I REALLY miss him. Make sure you tell 'im hi for me...! :dude

http://www.mojogypsies.com/gypsies/gallery/1789_b.jpg

[groove_king]

Talk about a small world...!

Leo is THE shit, and I REALLY miss him. Make sure you tell 'im hi for me...! :dude

http://www.mojogypsies.com/gypsies/gallery/1789_b.jpg

That's da man hisself! He still wears that t-shirt, too! :) Yep, very cool guy and he's really given the blues/roots music scene around here a much needed kick in the pants.

Any stories about him you'd like to share? :AOK

[TwoFeets]

I guess Roomful is playing down in the Cocoa Beach area sometime next week. Chris Vashon is sitting in with my old bass player's band, Art Harris and the Z-Tones, next Saturday - and I have a gig and can't go! Dammit!

[Dave Orban]

That's da man hisself! He still wears that t-shirt, too! :) Yep, very cool guy and he's really given the blues/roots music scene around here a much needed kick in the pants.

Any stories about him you'd like to share? :AOK
If I told ya, I'm afraid I'd have to kill ya...!

LOL!

[aja]

Is buddy on live at theresa's ? I have "its my life, baby" live at pepper's that
is outstanding too. You can here the cash register in the background and people
talking. I could only imagine walking into one those small places and sitting down to listen to Buddy and Junior play.

[valcotone]

Sean - I ordered it today. I can't wait to get it. I'm glad to hear its a good recording too. Who's the band?

re: Live at Theresa's

Buddy's not on it but his brother is:

Phil Guy, Byther Smith, Sammy Lawhorn - guitars
Earnest Johnson - bass
Vince Chapelle, Levi Warren - drums

Recorded Jan 10,13 - 1975

[Strat-O]

Cool. Can't wait to hear it.

[Strat-O]

That record looks cool! Have you ever seen it on CD anywhere? I got rid of the record player a long time ago.

I put my Watson/Mare pickups into my Pee Wee Strat finally. They sound great, exactly like I expected them to sound. The 0038's in my Tele were kind of a big surprise, I didn't know what to expect and they wound up being my favorite pickups out of all my guitars. Well sort of, the P13's sound cool of course. But the 0038's sound killer.

Don Mare really has himself together. I'm thinking about sending my P90's out to him for a rewind. I can't imagine how good they'd sound after he got through with them.

[jimfog]

I put my Watson/Mare pickups into my Pee Wee Strat finally. They sound great, exactly like I expected them to sound. The 0038's in my Tele were kind of a big surprise, I didn't know what to expect and they wound up being my favorite pickups out of all my guitars. Well sort of, the P13's sound cool of course. But the 0038's sound killer.

Don Mare really has himself together. I'm thinking about sending my P90's out to him for a rewind. I can't imagine how good they'd sound after he got through with them.

Hey Strat-O,

Can you tell us a little more about the Mare/Watsons??? Compare them to any other strat p'ups you've used? High or Low output, chimey or dark, etc? I'm REALLY tempted.

I was one of the original users/preachers about Don's "Nancy" tele pickups....I really like his stuff.

Thanks!

- Jim

[groove_king]

That record looks cool! Have you ever seen it on CD anywhere? I got rid of the record player a long time ago..
Oh yeah, that record looks awesome!

Dunno if the Spivey stuff is on CD, but there's a CD reissue of Otis Spann's Bluesway sessions called "Down To Earth: The Bluesway recordings" which has pretty much the same lineup as the Spivey sessions. It's on the MCA label. Spann and Lawhorn just smoke!

[Strat-O]

Oh well I'm not very good at describing tone. To me, the way I play, they sound fat and clear with great top end. I took a set of Fender Custom Shop '54s out of this guitar, and they are kind of similar to those. Maybe more midrange. They just have more clarity and detail as far as I can tell. Hell, they make me sound just like Junior Watson! Well sort of. I better stop now before I go and say they are creamy or something.

I think Don said they were based on some '57s which maybe doesn't tell us much because of the inconsistency in all the pickups from back then. I have a tone control on the neck and bridge. Nothing on the middle pickup. They just sound like good, fat, clear Strat pickups.

Just like the maestro's...

[rhartt1234]

T-Bone
http://www.youtube.com/watch?v=wemG2821l-o
http://www.youtube.com/watch?v=n47XH2xoKgs
http://www.youtube.com/watch?v=3rakbryd3Yshttp://www.youtube.com/watch?v=fgpL5P4WP8g

Lowell
http://www.youtube.com/watch?v=yoQFBagsNRg

Lightnin'
http://www.youtube.com/watch?v=H2drsTviOAI

Rev. Louis Overtreet
http://www.youtube.com/watch?v=sqoHhjmHAD0

A little Ska
http://www.youtube.com/watch?v=pEPVkUkMOf0
http://www.youtube.com/watch?v=yZIM7ErGONY

Johnny Littlejohn
(be patient and sit through Hooche Coochie Man for some slide)
http://www.youtube.com/watch?v=dLita5TdGFQ

Robert Jr. and Johnny Shines
http://www.youtube.com/watch?v=k6j1JUEnpZk
http://www.youtube.com/watch?v=QczjvNfwNXI

[Scott Miller]

The Cramps at the Napa State Mental Hospital:

http://www.youtube.com/watch?v=2epj61MEYH8

[Scott Miller]

One of those Lockwood/Shines things has June Core on drums. That was his first blues job.

Check out the possible P-13 on Lightning's whatever the heck guitar that is.

[straightblues]

Don Mare just wound me a set of strat pickups. Mine are speced more like the John Mayer or Eric Johnson pickups about 7.5 in the bridge. (that is where the comparison ends). That is hotter than the Junior Watson set. I wanted to make sure I would have really fat tone because I hate thin sounding strats. These things are the fatest strat tones I have ever heard. I actually turn on my bright switch on my black face amps and turn down the tone on the guitar a little and it screams. Don's strat pickups are just as good as the tele pickups. They have that vintage tone, not the fake vintage tone that so many manufactures claim to have but don't deliever. They sound like the pickups from the 50's. I have Don's pickups in a Tele, an Esquire, a Strat and even my Squier 51. He wound me a 12.5K strat pickup for the neck of my Squier 51. I use it for slide only and it is a real buzz saw.

[monstermike]

Johnny Littlejohn
(be patient and sit through Hooche Coochie Man for some slide)
http://www.youtube.com/watch?v=dLita5TdGFQ


Did you HEAR the Hoochie Coochie Man vocal? Do you even LIKE the blues? Jeez, sometimes I don't understand you guys...

Thumbs up on Live at Theresa's. Phil Guy is by far the dominant guitar player on it (Byther Smith's on all but five tunes playing mostly rhythm, and Sammy only plays a couple of solos), and it's some of my favorite playing I've heard in a long time. Scribbly like Phil's brother can be, but a bit more rooted in the groove and a TON of silverface amp 'verb.

[S.W.Erdnase]

Whoa there, Mike. Some of us have day jobs and don't have time to sit through all the clips, much as we'd like to. A comment like Ryan's helps to steer you to the stuff that might really float your boat, but it's AAAAALLL good.

[rhartt1234]

Did you HEAR the Hoochie Coochie Man vocal? Do you even LIKE the blues? Jeez, sometimes I don't understand you guys...


Oh I heard it and it was great but it was still " Hoochie Coochie Man". Johnny Littlejohn wasn't the most inventive guy ever but I think even he could've come up with something less overdone, even by 1983 standards. But I'll take that over no video of him at all.

[TwoFeets]

Did you HEAR the Hoochie Coochie Man vocal? Do you even LIKE the blues? Jeez, sometimes I don't understand you guys...

Thumbs up on Live at Theresa's. Phil Guy is by far the dominant guitar player on it (Byther Smith's on all but five tunes playing mostly rhythm, and Sammy only plays a couple of solos), and it's some of my favorite playing I've heard in a long time. Scribbly like Phil's brother can be, but a bit more rooted in the groove and a TON of silverface amp 'verb.

Speaking of a "Ton of silverface amp 'verb" do any of you guys dig Eddie C. Campbell? Caught him at Legends back in February. Played a pink Jazzmaster through what looked like a SF Twin DRENCHED in 'verb. Very cool tone.

[mikelaw]

listening to ronnie squirrel's live in europe today. i burned it from alec.

not sure if im missing any tracks on this version, but there doesn't seem to be any vocals??? weird. maybe one of my speakers is bad and im not getting the vocal channel? SO WEIRD.

[Shades]

One of those Lockwood/Shines things has June Core on drums. That was his first blues job.

June's a Killer! I played with him a couple of times when I was working with Duke Jethro.

[aja]

Live in europe is all instrumental bro. No vocals. Just scorching guitar.

I liked the t-bone clips. Lowell Fulson's guitar was almost identical to t-bones I think. Is that an Es-5 like yours Nick adams ?

[monstermike]

Whoa there, Mike. Some of us have day jobs and don't have time to sit through all the clips, much as we'd like to. A comment like Ryan's helps to steer you to the stuff that might really float your boat, but it's AAAAALLL good.

See, if I could lose my respect for written language enough to use those gotdanged smileys, we wouldn't have this problem.

[monstermike]

June's a Killer! I played with him a couple of times when I was working with Duke Jethro.

When you were...but how...but huh...buh...dee...wha...

DUKE JETHRO?!?

You're my hero. I know Duke plays in the Bay Area (right?), and at one point when I was living out there, KBR gave me his number, but I just couldn't bring myself to call him for a gig. "Excuse me, Mr. Jethro, but I really love that Live at the Regal, and I...well...I play blues guitar, too..."

I wasn't and still wouldn't be worthy.

[valcotone]

listening to ronnie squirrel's live in europe today. i burned it from alec.

not sure if im missing any tracks on this version, but there doesn't seem to be any vocals??? weird. maybe one of my speakers is bad and im not getting the vocal channel? SO WEIRD.


Mike - Must be your stereo setup... vocals all over that one. I think there are a couple of acapella numbers as well that Ronnie gets great tone on. Try panning back and forth LEFT/RIGHT and report back...







;)

[Shades]

When you were...but how...but huh...buh...dee...wha...

DUKE JETHRO?!?

You're my hero. I know Duke plays in the Bay Area (right?), and at one point when I was living out there, KBR gave me his number, but I just couldn't bring myself to call him for a gig. "Excuse me, Mr. Jethro, but I really love that Live at the Regal, and I...well...I play blues guitar, too..."

I wasn't and still wouldn't be worthy. Duke still plays in the south bay (although last time I talked to him he was having some pain and tinnitus issues that had him playing out a lot less.) I loved working with him. When Billy Johnson was in both his and John Lee's band, conflicts would often arise and I'd fill in for Billy on the Duke gig. I learned a ton from him. With the exception of a few tunes, the night was in G. All night in basically one key has its own challenges, especially when the changes had some wrinkles in them here and there that you'd better be on top of and tunes aren't called off. Duke's work with B.B. King is among my favorite music ever. Besides Regal,which Duke informed me was his first time ever playing piano (the organ had broken had hadn't made it back from the repair shop in time for the show) Blues is King is a masterwork and one of my favorite albums of all time. I was also aware that I was there filling Billy's shoes (Bill played with Chet Baker,taught Robben Ford, etc.) and other choices of players that had filled this exact slot included Chris Cain, Sam Varela, and Tim Volpicella. That will keep you on your toes for sure.

[mikelaw]

Mike - Must be your stereo setup... vocals all over that one. I think there are a couple of acapella numbers as well that Ronnie gets great tone on. Try panning back and forth LEFT/RIGHT and report back...







;)

lol

[valcotone]

I liked the t-bone clips. Lowell Fulson's guitar was almost identical to t-bones I think. Is that an Es-5 like yours Nick adams ?

hi aja, Don't mean to answer for Nick, but yes T-Bone and Lowell are both playing ES-5s in those clips.

[GOLDENSTRAT]

How are gigs goin' for yall? I remember Zappafrank commenting on how audiences were more interested in classic blues rock fare than authentic blues in his parts. I love playing for a live crowd but i do not want to spend an evening churning out classic blues/rock hits. Are your gigs at places that feature blues or roots music or in a slot in a usually classic rock scene? Comiserate here, fred

[Strat-O]

Straightblues - The Watson pickups are fat as all get out too. I'm still getting to know them and wound up using my H62 the whole night on Saturday. I used my Pee Wee Strat for one tune so I didn't really get to scope them out much more. This weekend I will though. They don't have that weird midrange that I didn't like in the Fender pickups I tried though. They just sound old, fat and really cool.

[S.W.Erdnase]

See, if I could lose my respect for written language enough to use those gotdanged smileys, we wouldn't have this problem.

Ah. Right. I hate those things, too. Embarrassed to say I misread you...

[groove_king]

Guys,

Take a look at a vid I just uploaded to the 'Tube. It's footage of me and S.W. and the guys at a jam a few years ago. There's a friend sitting in on slide guitar, otherwise it's all Groove Kings all the way.

Comments appreciated etc.

-Dave-

http://www.youtube.com/watch?v=efkT36LEzoM

[Strat-O]

The whole band sounds great.

:BEER

[fretshop]

[quote=skilback]Mike - Must be your stereo setup... vocals all over that one. I think there are a couple of acapella numbers as well that Ronnie gets great tone on. Try panning back and forth LEFT/RIGHT and report back...

Yeah Mike...sounds like a problem with your rig.

Sean, do you have the German boot of that recording ? My buddy has it with some extra tracks. Is one of the acapella songs that you are referring the band's rendition of "somewhere over the rainbow" with Ronne himself singing "Woooo....eee...oooo...dit dit dit sha da da" in the back ground ?

[fretshop]

How are gigs goin' for yall? I remember Zappafrank commenting on how audiences were more interested in classic blues rock fare than authentic blues in his parts. I love playing for a live crowd but i do not want to spend an evening churning out classic blues/rock hits. Are your gigs at places that feature blues or roots music or in a slot in a usually classic rock scene? Comiserate here, fred

It's a mixed bag here. If you're doing all blues you'll starve. We throw in some oldies material to keep the crowd in the bar.
Last weekend I gave up an Acapella/Doo Wop vocal and classic blues gig due to a case of wicked Bronchitis. (Got on the phone with Jetlag last week and I had to convince him it was me, and not Kermit the Frog trying to imitate John Wayne). The Acapella scene is still alive and well here in Joisey, and we have a fervent group of followers...die hards who are determined to keep the genre alive. They are members of an association called "United Group Harmonies Association", and meet several times a year at Jersey City's Schutzen Park complex for dinner, dancing, record swapping, AND entertainment by some of the finest Oldies groups from the 50's and early 60's. So far, I have precious memories of the Cadillacs doing "Gloria", the Velours with their classic "C'est La Vie", and my very old friend Larry Chance...back from throat Cancer no less, leading his Earls through a killer repertoire, including "I believe", "Remember Then", and "Life is but a dream". Over twenty years ago, I worked for a booking agent, the late, great Marty Hoberman who managed and booked many of the Acapella and Doo Wop greats. We used to drop Larry off at WNBC Studios in Manhattan, where unbeknownst to many people...he performed regularly on the Don Imus Radio Show as the voice of "Heraldo Santana Banana" (Imus was what many bvelieve to be the original shock jock, and was Howard Stern's nemesis).

Other than that...waiting for 11/11 to do a set or two with NJ harp viruoso, Carlos Colina at The Blue Moon Cafe. We mix it up alot, some Chi-Town and Texas blues, West Coast Jump/Swing, and some 50's and 60's instrumentals for dancing....I throw in some Santo and Johnny/Alvino Rey Hawaiian guitar numbers to keep it interesting.

Anybody playing in my area? Any news from our Trenton or Philly brothers ?

[aja]

thought so, thanks ,man

[valcotone]

How are gigs goin' for yall? I remember Zappafrank commenting on how audiences were more interested in classic blues rock fare than authentic blues in his parts. I love playing for a live crowd but i do not want to spend an evening churning out classic blues/rock hits. Are your gigs at places that feature blues or roots music or in a slot in a usually classic rock scene? Comiserate here, fred


hey Fred - I'm just starting to venture out and do some more serious gigging with my bass player and a new drummer. We'll be doing a mix of blues styles and are trying to stay away from the obvious standards which might mean death to us given the usual crowds who just come out to have a good time. We'll be playing in local pubs/bars that feature different styles of music but there is a local Blues Society and we'll try to get involved with them to boost the attendance. Have you guys tried this approach? Does it work? I'm really excited about this actually!

[valcotone]

[quote=skilback]Mike - Must be your stereo setup... vocals all over that one. I think there are a couple of acapella numbers as well that Ronnie gets great tone on. Try panning back and forth LEFT/RIGHT and report back...

Yeah Mike...sounds like a problem with your rig.

Sean, do you have the German boot of that recording ? My buddy has it with some extra tracks. Is one of the acapella songs that you are referring the band's rendition of "somewhere over the rainbow" with Ronne doing "Woooo....eee...oooo...dit dit dit sha da da" in the back ground ?


I might have it. I think Sha Na Na sat in for that one, right? Or maybe it was the local Friends of Dorothy chapter? I believe Ronnie was opening for Huey Lewis & The News that night.

[fretshop]

hey Fred - I'm just starting to venture out and do some more serious gigging with my bass player and a new drummer. We'll be doing a mix of blues styles and are trying to stay away from the obvious standards which might mean death to us given the usual crowds who just come out to have a good time. We'll be playing in local pubs/bars that feature different styles of music but there is a local Blues Society and we'll try to get involved with them to boost the attendance. Have you guys tried this approach? Does it work? I'm really excited about this actually!

If you're attempting to boost attendance with the support of a blues society, treat at it as a "Quid-Pro-Quo" situation...one thing for another. In certain cases, the more the administration and members get to know you, the more you can expect from them in terms of networking and participation. New Jersey is NOT a blues state, and can be a tough nut to crack as far as maintaining audiences, no matter how talented you are. Some of the combos I have worked with have added variety to their repertoires (eg) early R&B, novelty (steel guitar etc), Acapella/Doo Wop and early Rock & Roll in order to keep the patrons entertained and interested. One thing tht I am a stickler for is networking and relentless promotion.

[fretshop]

How did everyone get their start as a musician ?

New Jersey was fertile ground for budding performers back in the 50's and 60's. There was always something going on. I sang baritone in my Grammar School chorus, and after a recital, was quickly approached by a trio of characters with pompdour haircuts, high-roll shirts, "feather-weight" (cap toe italian shoes), and black leather sports jackets...all these guys smoked, carried condoms in their wallets, had home made tatoos, and had very seedy, but sultry girl friends. They told me to show up at the Holy Rosary Hungarian Church for the CYO dance on Friday night, and gave me five or six 45's to listen to and learn the baritone and bass parts. My mother dropped me off inf front of the church hall...I died a thousand deaths. I was decked out in a navy blazer with my school crest on the pocket, button down shirt and regimental stripe tie, genuine Boy Scout Oxford shoes, and my hair plastered with Troll hair tamer. The kids mocked, and poked at me until the group into'd into "Gloria" (Cadillacs version), the rest is history. We later performed at the 1960 PAL/CYO Youth Acapella finals in Philly...and lost to a really slick local bunch in shark skin suits, pimp socks, and mirror polished shoes. Their dance steps were mind boggling.
Man, we came from Jersey with big attitudes and didn't have s**t !! We left holding our cahones. Acapella was absolute religion in Philadelphia...and the locals were as good as it got !! Taking into consideration the ages of most of our thread participants, I'm sure that many aren't aware of the myriad regional genres spawned by early R&B. I'm just an old guy sharing some memories, so forgive me if I rambled abit.

[TwoFeets]

As a teenager in high school in the 80's, I really, REALLY wanted to be a hair metal guy. I worked my way backwards from hair metal, through Zeppelin and Cream and the Yardbirds, and so on. Page and Clapton are the reasons I ever picked up a guitar in the first place.

First guitar: Mattel "Synsonics" guitar in black with built-in 9V battery powered speaker, and trem system that looked like it was made in Joe's Machine Shop. Parents bought it for me on the cheap through the Sears catalog, when they figured I wouldn't stick with it more than 6 months.

First real guitar: After the 6 months had passed and then some, I wanted to be Page.... I bought myself the first thing that said Les Paul on it. It was a mid 70's tobaccoburst LP Special with P90's. Very un-Page but hey, it was a LP!

First amp: Hohner 30 watt solid state that my parents bought for me at Building 19 3/4 (salvage store).

First tube amp: Purchased by me at Daddy's Junky Music in downtown Boston because I heard tube amps were better than solid state; Fender Super Twin. 6 x 6L6's, 2 x 12" JBL and 180 watts of the worst clean tone you've ever heard. Also weighed about as much as a small home.

First time playing with something that can be called a band: a basement just off Oakdale square, Dedham MA., circa 1987.

First time playing an actual "show" that wasn't a party: Dedham High School battle of the bands, circa 1988 or so.

First "club" date: Rick's Pub, Dedham MA. circa 1991 or 1992

First time exposed to blues in a live setting outside of that played by ex-British Rockers: Blues jam at the Midway Cafe in Jamaica Plain circa 1996, hosted by the Racky Thomas Band (pre-Nick Adams)

[aja]

lol My first guitar was out of a Jcpenney catalog.

[Echo Are]

How did everyone get their start as a musician ?


I started playing guitar in 1986. It was combination of wanting to be Eric Clapton (on Strange Brew: The Very Best of Cream) and a friend who'd been playing for a couple of years before I started. This friend of mine took me to a local music store, where we plugged in a cheapo Mako Traditional brand guitar into a cheapo Mako brand amp. The tone was awful, but my friend showed me how to play a few simple things, and I was hooked.

[fretshop]

First guitar: $9.00 3/4 scale plywood junk flat top. Year: 1958
First electric guitar: Kay Value Leader 2 pickups. Year: 1960-61
First Amp: Masco amp with 8" speaker. Still have it
First good guitar: Gretsch 6120 Year: 1965 Cost: $350 + trade of Kay electric and old Saxophone
First good amp: '65 Twin Reverb. Still have it Cost: $350

First killer guitar: '54 Goldtop # 4 1823 Year: 1967 Cost: $90.00 + $5.00 for the case. Traded to a family friend for the '63 ES-345 with PAFs which I still play.

2nd killer guitar: '65 RW neck tele Candy Apple Red. Cost: $220 traded to Frank Wolf Music shop on 48th st. for $80 and a Vox Wah Wah pedal Year 1967, several weeks before reporting for military service.

Third killer guitar: '58 LP sunburst flame top. Year: 1973 Cost: $675 no case. Sold it back to Gibson Guitar Co. in 1991 Cannot reveal serial # by request of Gibson Co.

[Echo Are]

First guitar: $9.00 3/4 scale plywood junk flat top. Year:
Hey, I started out on the same type of guitar, lol: $40.00 Harmony plywood thing from the Sears catalog, 1986. Golden cigar-box tone :messedup. My 1st halfway-professional electric was a MIJ Fender '50s re-issue Strat that I got in 1995. It was OK, better than the '94 Korean-made Squier Strat(eh), '88 Kramer ZX30H(aye),and '87 No-Name Korean-Made Sears Catalog Strat(yecch) that preceded it.

1st OK guitar amp was one of those little Rivera-designed Fender Sidekick 15s. For what it was, it sounded pretty good.

[valcotone]

Third killer guitar: '58 LP sunburst flame top. Year: 1973 Cost: $675 no case. Sold it back to Gibson Guitar Co. in 1991 Cannot reveal serial # by request of Gibson Co.


...Fretshop... is there more to that story that you can reveal? Sounds intriguing!

[musicofanatic5]

" It was combination of wanting to be Eric Clapton (on Strange Brew: The Very Best of Cream)... "
...funny, on that, Clapton sounds like he wants to be Albert King! Me, I wanted to be James Burton (from watching Ozzie & Harriet).

[Scott Miller]

Looxury. For my first guitar, I had to lick the road clean, and we slept in a cardboard box, ay, but it was home... Actually, it was a guitar from Blue Chip Stamps. The amp, too. Both were sincerely pieces of crap; the amp used to give me shocks all the time. I sold them both about 30 years ago for $10.

My first band was in high school; "Live and Well" was a hit at the time, so we played lots of BB. For our first gig, I simply could not use my POS guitar, so we borrowed someone's Les Paul, on stipulation that the Les Paul's owner could "go out with" (screw) the drummer's girlfriend. Really hot girlfriend; an exchange student from Ecuador. Not a problem, said the drummer, which I thought was really taking one for the team, until I found out that the drummer had a lot more stuff going on than the Ecuadorian hottie, and she was proving a little TOO hot. So, it was win-win all around.

Well, that was the first incarnation. Life and whatnot gave me a 27-year vacation, so now I'm playing catch-up.

[Stringmaster]

Well, first was the cigar box guitar my dad made for me when I was about 8 y.o. After thumping on that for a couple of years, my parents decided I was serious, so I got my first "real" guitar in 1964 for my 10th birthday--a $17 import acoustic from "Certi-Bond", kind of like a "Target" store of the day (I really wanted an electric). The strings were about an inch of the fingerboard--but I had some serious caluses built up--I remember putting band-aids on my fingers to be able to play until then. The guitar literally exploded while I was having dinner one night. So then I got my first electric--an Japanese Jaguar type from an import store like Cost Plus-$25 with the gig bag! I later got a Vibro Champ for Christmas--even though I thought I needed a Twin! I soon blew the speaker and got a Gibson amp. I worked had the summer of my Freshman year in HS and got my first good guitar--a cherry red 335--$400 plus tax. I started taking lessons from Bob Dodd at the local music store, and he introduced me to Blues, etc. I was heavy into Blues in HS, as well as bands like Cream, Wishbone Ash, Tull, and the like. We had a band in HS that played all of that stuff--straight Blues and Blues-based rock. My amp wasn't keeping up with the competition, so I got an Acoustic 150 with 6x10"--that sure kept up!! The 335 got stolen my Senior year, I with the insurance money I bought a '68 Gold-Top with P90's. I used that guitar for several years after HS, and the same band played some gigs on the college circuit. I turn 52 on 11/21, and except for a period of a couple of years in the 70's, I've pretty much been in a band since....And, I'm just as passionate about learning the craft as I was when I picked up my first guitar!
DD

[fretshop]

...Fretshop... is there more to that story that you can reveal? Sounds intriguing!

For over three decades beginning in the early 70's, I was "on call" at Gibson to handle special artist requests, and to also restore pre-war instruments for certain collectors, including harp guitars, Model O's, Mando Cellos...all the obscure stuff. during this time, I had made some wonderful personal friendships at Gibson, and when I was injured, had back surgery, and was out of work for over a year, they were some of the first to respond with kindness and generosity. One evening, I believe it was around 1990-91, Cherie Taylor from Customer Service and the parts manager Ward Arbanes called to check on me. We eventually got to talking about my Les Pauls, because they had somehow found some OEM parts for me. (another musician had picked up my '58 without permission and damaged it). Ward mentioned that Gibson was looking to make a couple exact replicas of a '54 and a '58 and was seeking out authentic instruments to use as a bench mark. They also wanted to keep the project confidential, so they weren't going around to vintage dealers. Within a few days of my chat with Ward and Cherie, I got a call from Wayne Green and Mike Lennon. At the time, Wayne was in charge of the plant, and just in the process of collecting data for a very specific historic project. Mike ran the restoration and warranty service, and was one of the best lacquer men in the business. Gibson had treated us extremely well almost forty years, so it was without hesitation that I offered to ship the guitars to Nashville for them to photograph and take measurements, etc. They had the instruments for several months, then made me an offer I couldn't refuse. I sold them the '58, and as an added bonus, they meticulously refurbished my '63 ES-345 and my '54 Gold Top using all original materials, and parts when needed. The Gold top is still in the family, and I use the original PAF equipped 345 frequently.

[straightblues]

Great stories Fretshop.

Has anybody recieved one of the new stratotone copies yet? Give us a review when you get them!!!

[mikelaw]

my boy carl offered me his '56 reissue goldtop today. $1500+my 2tone burst JLV strat that he cant seem to be without.

he's got me really considering things now....................mmmmmmmmm.............

[Strat-O]

I'm going to buy one as soon as I get some money, probably three or four months from now! Sounded like everyone cancelled their orders for the Strat-o-tones to me since they weren't dead on reissues.

[ReddRanger]

my boy carl offered me his '56 reissue goldtop today. $1500+my 2tone burst JLV strat that he cant seem to be without.

he's got me really considering things now....................mmmmmmmmm.............

I just saw Steve Freund last week playing on a Gold Top w/P-90's. Now, I've got such g.a.s. for a GT w/ P90s..I'd probably jump all over that offer if I were you. Hearing how good that guitar sounded live (and in the right hands) has woken me up in the middle of the night a few times.

A '56 reissue is very, very tempting.....

[maxVsf]

Freund plays a lot of different Lesters, real and clone. He even has an Epiphone endorsement. Was that an Epiphone Elitist gold top p90?

[Scott Miller]

I think I like Jr. Watson's tone on the Goldtop better than the H-44. OK, I've never heard him play the H-44 live, so maybe that would change my mind. Pat Boyack kills on a Goldtop too.

[straightblues]

Does anyone know the value of the Tone pot, volume pot and the cap in the original Stratatones with the hershey bar pickup.

[ReddRanger]

Freund plays a lot of different Lesters, real and clone. He even has an Epiphone endorsement. Was that an Epiphone Elitist gold top p90?

Looked like a Gibson. Whether it was a clone, I'm not sure. I never got a chance to ask him about it. But, it said Gibson on the headstock. He was joking on stage about it being his Johnny Cat guitar (also an LP GT / P90 player). He also had a Standard looking LP with humbuckers that he switched to.

He was plugged straight into an Allen Old Flame supplied by the house band. His control of volume was impressive, and his rhythm section was tight. He sounded great as a trio, and also great when other players joined in. I had never experienced his playing before last week. Very cool stuff.

[aja]

http://www.youtube.com/watch?v=ChS5XC8clrQ&mode=related&search=
BB King - Beat Club 1969 - Heartbracker

a little B.B.

[Dave Orban]

http://www.youtube.com/watch?v=ChS5XC8clrQ&mode=related&search=
BB King - Beat Club 1969 - Heartbracker

a little B.B.Boy, that intro is a real hoot...! LOL!

[jetlag]

Does anyone know the value of the Tone pot, volume pot and the cap in the original Stratatones with the hershey bar pickup.

50K volume and 50K tone. On the tone cap, I'm not positive - I think it was .1uf though. Lots of people like to experiment with other values - 100K, 250K, 500K. I've tried 50K and 250K volume pots and like them both. I would like to find a full sized 100K audio pot to try some time. Might be a perfect middle point.

I'm getting more and more familiar with H44s and gigging with them. I'd have to say that for harp backing or raw/primitive sounding gigs the H44 has the edge. For 3 piece or whacked out guitar hero stuff the goldtop hands down. Also, a goldtop is maybe a bit more versatile (when compared to a 2 pickup H44/H88). Just last week I had to take only 1 guitar for a fly gig and chose a tokai LP w/P90s. With a phase switch, a P90 LP can do anything. Also, I felt like I had a better chance getting a good sound out of a backline sh*t amp with the LP. But personally, I say get BOTH!!

[Echo Are]

Looked like a Gibson. Whether it was a clone, I'm not sure. I never got a chance to ask him about it. But, it said Gibson on the headstock. He was joking on stage about it being his Johnny Cat guitar (also an LP GT / P90 player). He also had a Standard looking LP with humbuckers that he switched to.

Yep, Steve Freund sounded great. Here's a shot I took of him and Kenny "Blue" Ray(KBR) at the 10_25_06 Little Fox Jam:
http://i103.photobucket.com/albums/m139/NayrYes/Little%20Fox%20Jam/SteveBlueRay10_25_06.jpg



And here's a pic I took of Johnny Cat, whom ReddRanger also mentioned. Among other things, he plays in the house band of the Murphy's Law(Sunnyvale, CA)Monday Night Blues Jam. IMHO, he is the whole package: tone, technique, licks, looks, etc. I've had the honor of sharing the stage with him at this jam a buncha times over the last 2 years. Helluva nice guy, and a killer guitar player. Jam Master Mike Phillips is on bass, Dennis Dove's on drums.
http://i103.photobucket.com/albums/m139/NayrYes/JohnnyCat10_02_06.jpg

[Shades]

Yep, Steve Freund sounded great. Here's a shot I took of him and Kenny "Blue" Ray(KBR) at the 10_25_06 Little Fox Jam:
http://i103.photobucket.com/albums/m139/NayrYes/Little%20Fox%20Jam/SteveBlueRay10_25_06.jpg



And here's a pic I took of Johnny Cat, whom ReddRanger also mentioned. Among other things, he plays in the house band of the Murphy's Law(Sunnyvale, CA)Monday Night Blues Jam. IMHO, he is the whole package: tone, technique, licks, looks, etc. I've had the honor of sharing the stage with him at this jam a buncha times over the last 2 years. Helluva nice guy, and a killer guitar player. Jam Master Mike Phillips is on bass, Dennis Dove's on drums.
http://i103.photobucket.com/albums/m139/NayrYes/JohnnyCat10_02_06.jpg

It's old home week. Say hey to Dennis for me. He was the drummer/singer in my band Catahoula for a while. Another under-recognized talent, Dennis slays.

[ReddRanger]

Hey Echo Are, great pics!! Do you have any more you might be willing to send me? I was there and got up to play right after Steve's first set with Johnny sitting in. And you are correct about Johnny Cat. Standing in his spot on stage right after he played was a little daunting.

Dennis Dove is another tallent I've recently just discovered. Good drummer, great voice, and a real nice guy.

[TwoFeets]

Just last week I had to take only 1 guitar for a fly gig and chose a tokai LP w/P90s. With a phase switch, a P90 LP can do anything. Also, I felt like I had a better chance getting a good sound out of a backline sh*t amp with the LP.

My Tokai P90 goldtop (yes, w/phase switch) has been my weapon of choice lately. The big box just sits on the stand. It's really versatile and even lends itself well to rockabilly stuff. The middle in-phase position gets a cool jangle if you dial it in just right. It's also amazingly comfortable to play - probably the nicest guitar I've ever owned from a tone and playability standpoint. It looks cool, too.

[Echo Are]

ReddRanger: Hi, what's up? You're Eric, right? Reddish Les Paul? This is Ryan, the blue Tele guy(I was onstage with Stan Erhart that night). Unfortunately, I don't have any pics of your set. I was shooting with no flash, I didn't have a tripod with me, and...long story short is I only had a couple photos that came looking halfway decent, including the one I posted.

Bill Chapin: Will do. How goes it? I don't know if you remember me, but I believe I jammed with you once, about 4 years ago at JJ's. It was the Laura Johnson & Friends Sunday night jam there. I had this "experimental" rig I tried out that night(and never used again,LOL). Old orange-tolex Roland Cube 60 & Digitech RP100 modeler combination. Sounded like: yecchh! Eh, I was learnin' about getting good live tone. Anyway, I'll tell Dennis you said hi next time I see him. He's still workin' hard, and he still says "Yeh, awright!", "True story!", and "Show Yer Love!" at the ends of songs:AOK.

--Ryan Cohen

[dukeh62]

With all this talk of '56 Reissue goldtops...I've got one I'm toying with selling. I believe it's a '97 or '98. Sounds fantastic...I used it quite a bit on our "Yeah Man!" cd. It's got Lollars in it now, but would be shipped with the original Gibson pups.

Great shape...couple minor/standard dings here and there, but otherwise no issues. Just trying to get a handle on what they are going for used these days. Shoot me a message if interested!

[Scott Miller]

Har. The Bay Area contingent takes over. Bill, I still gig with that Red Maz 38 I bought from you. I use it on outdoor gigs, or when I'm in a "Take no prisoners" mood.

A few props for some of the other local folks pictured:

Along with Freund and KBR, we see Robi Bean, a freakin' INCREDIBLE drummer. He's on at least one of RJ's CDs. Tim Wagar "The Iceman" on bass, local first-call guy. Spencer Jarrett on harp and vocals, he does some great Sonny Terry harping and whooping like you don't ever hear these days. Long-time Chicago folk might know him.

Mike Phillips plays with lots of folk, he just got back from a tour with Musselwhite. If Andy Santana's CD ever comes out, he's on it. Johnny Cat is with Terry Hanck these days. Johnny has, more than anyone, shown me how to play guitar.

[ReddRanger]

Hey Ryan! Yeah I'm Eric, guilty as charged. Funny to run into you here since we seem to prefer the same corner down at the Little Fox. And the LP, it's actually Rootbeer. But for some reason it came out lighter and more flamey than other Rootber ones I've seen. Either way, I'm lucky to have it. I'm sure I'll see you at the next jam.

And Scott, you are right. Robbie Bean is killer. Btw, did he ever play with Primus? Also, thanks for pointing out Tim Wagar. I couldn't remember his name. Don't forget in that pic, Carolyn (McNabb?) hiding in the shadows. She delivers the goods on those keys.

[mikelaw]

i wish i could use my h44 more live but i just cant. i play with a louder band and with a 2nd guitar player and it just doesnt cut. i could use a bigger amp but then id be busting people out of the club. i also dig the bridge pu tone sometimes and the h44 just doesnt give that no matter what. because of this i think mine is gonna be delegated to studio stuff...rhythm guitar playing. eventually i may throw in a mini humbucker into the bridge spot just so i can play it out.

[Scott Miller]

Someone asked about what kind of gigs we're all getting, blues audiences, or what. My band plays some venues that are bonafide blues joints, and that's nice because the audience understands what we're doing. Thank God for our local blues audience.

We also play enough old R&B and goofball danceable stuff that we can get gigs in non-blues joints, where they mostly have cover bands. The strangest joints are the 20-something meat markets. The first set, they don't even know you're there. Sometime during the second set, the third Margarita hits, and all of a sudden there's just a whole lot of humpin' and grindin' going on. They still don't know you're there, but at least they're responding in some fashion, even if it's just reflexive. That ultra-cool Bill Jennings diminished lick you just spent hours learning is lost on them, but at least you have a role as part of a purely biological plan to reproduce the species.

At any rate, we pretty much have a good time no matter what kind of venue it is. It's just a matter of entertaining folks in different ways.

[Dave Orban]

They still don't know you're there, but at least they're responding in some fashion, even if it's just reflexive. That ultra-cool Bill Jennings diminished lick you just spent hours learning is lost on them, but at least you have a role as part of a purely biological plan to reproduce the species.

At any rate, we pretty much have a good time no matter what kind of venue it is. It's just a matter of entertaining folks in different ways.We have a winner... :dude

[Dave Orban]

I've been playing this little eBay prize over the last couple of days through a '69 Super Reverb, and it sounds pretty damned fine, to me.

http://i3.ebayimg.com/02/i/08/92/7b/58_1.JPG

Strung it up with 12s, and there are a surprising number of good tones to be wrung out of her, to be sure...! :dude

Don't get to gig it until 11/17, but I'll give her a whirl at rehearsal next week, and see how she holds up to the band.

[groove_king]

YouTube news:

Scott Dirks has just uploaded some Pee Wee Crayton:

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

[fretshop]

i wish i could use my h44 more live but i just cant. i play with a louder band and with a 2nd guitar player and it just doesnt cut. i could use a bigger amp but then id be busting people out of the club. i also dig the bridge pu tone sometimes and the h44 just doesnt give that no matter what. because of this i think mine is gonna be delegated to studio stuff...rhythm guitar playing. eventually i may throw in a mini humbucker into the bridge spot just so i can play it out.


From what I've noticed with H-44s, it can depend on the type of amp too. Mike, have you messed around with some different amps to see if the volume issue is consistent ? Here's a head scratcher for ya...I had an H-44 in a couple years ago for service/neck straightening, and the owner had a similar complaint. I took the instrument apart to clean it and everything was intact. The pickup was right on as far as D.C. resistance etc etc. The guitar seemed to lack output, and had a thinner tone than normal....I'm driving myself nuts with this thing, then I remembered my Uncle Lou "Rose", who ALWAYS cleaned out the jacks on instruments no matter what...It was one of his first rules of general maintenance, so I tried it. Son of a B****h !!!, it was the jack !! Over the years, the jack had glazed with oxidation. I rolled up some 320 grit sand paper, pushed it back and forth through the jack hole, and noticed all kinds of crud coming out. I cleaned it out with some acetone and a Q-Tip..and voila !!!, the guitar came back to life.

[pete kanaras]

bingo george, had forgotten about that one. my kay archtop had the same problem when i got it. thought it was the pups, spritzed some caig red in there and viola. i'll show you the kay (a real freak) when you come down this weekend. saturday right?

[RickyKing]

:messedup :messedup :messedup I had 1 of those nights,last night.
There's been alot of them lately.
Oh boy....:YinYang

[straightblues]

What guitars must you own in order to call yourself a true West Coast bluesman?

[jetlag]

What guitars must you own in order to call yourself a true West Coast bluesman?

Just about anything as long as it doesn't have a pointy head, kahler or floyd rose tremelo. EMGs and lace sensors are bad form too. Mosrites (unless they are double necked with your name on the fingerboard) and rickenbackers are stretching it as well. But I hear where you are coming from. The most common instruments you would see a west coast blues enthusiast playing would be : Harmony H44, Harmony H62 (and family), goldtop P90 lespaul, maple board tele, maple board strat or an ES5 (in no particular order). Maybe a dano for slide. Tons of other fine guitars to fit the bill, but that's the most common. They would have traditional type pickups in them and would be plugged thru a tube amp that doesn't have many more knobs than you have strings on your guitar.

[Echo Are]

Just about anything as long as it doesn't have a pointy head, kahler or floyd rose tremelo. EMGs and lace sensors are bad form too. Mosrites (unless they are double necked with your name on the fingerboard) and rickenbackers are stretching it as well. But I hear where you are coming from. The most common instruments you would see a west coast blues enthusiast playing would be : Harmony H44, Harmony H62 (and family), goldtop P90 lespaul, maple board tele, maple board strat or an ES5 (in no particular order). Maybe a dano for slide. Tons of other fine guitars to fit the bill, but that's the most common. They would have traditional type pickups in them and would be plugged thru a tube amp that doesn't have many more knobs than you have strings on your guitar.

Cool, and interesting. But...why a maple board Tele(my Tele has a rosewood board). Just curious.

[Scott Miller]

Regarding the H-44 cutting through, I've been having similar thoughts, but now I realize it's mostly the band I'm with at the time. For a straight-ahead blues chonking band, it works fine. But my main band has a female singer, and she sets the bar pretty high, tone-wise. For that band, my mini-humbucker Epiphone works great, because it cuts with a vengeance. Mike, I think you and I might have to start a mini-humbucker club, because they seem under-appreciated. Those little suckers just KILL.

Anyway, I just read an interview with Johnny Guitar Watson, in which he mentions how he liked to match his voice quality with his guitar tone and vice-versa. So, that's pretty much what I have to do in that band. Scratch that, not "have" to do, "get" to do. I love giving the bridge pickup a good workout.

Speaking of JGW, I just played some of his stuff and am once more amazed, inspired, and humbled. Alas, I will never be able to sing "Lonely Lonely Nights" again.

[monstermike]

:messedup :messedup :messedup I had 1 of those nights,last night.
There's been alot of them lately.
Oh boy....:YinYang

How so? Playing, venue, audience, sound...I can't imagine you didn't kick all kinds of ass.

What guitars must you own in order to call yourself a true West Coast bluesman?

Gibson Moderne. One of the originals. Failing that, you need to buy Hendrix's Woodstock guitar from the Hall Of Fame or Apple Computers or whoever owns it now. Or that D'Angelico Teardrop that was making the rounds a few years ago. Seriously, what kind of question is that? Play blues on what you have, and if you don't like that, buy something else!

[Dave Orban]

How so? Playing, venue, audience, sound...I can't imagine you didn't kick all kinds of ass.



Gibson Moderne. One of the originals. Failing that, you need to buy Hendrix's Woodstock guitar from the Hall Of Fame or Apple Computers or whoever owns it now. Or that D'Angelico Teardrop that was making the rounds a few years ago. Seriously, what kind of question is that? Play blues on what you have, and if you don't like that, buy something else!Amen.

So many great players have played great music on so many different guitars.

Go with whatever works for you...! :dude

[jetlag]

Cool, and interesting. But...why a maple board Tele(my Tele has a rosewood board). Just curious.

My tele has a rosewood board too! I just noticed that most of the fender players that are in the west coast bag use maple necks. Probably because that genre tends to focus more on music from the eras prior to rosewood boards - so maple boards get that tone and that look (yup, I know).

Anyway, my point in the previous post was that you can use about anything - it's the player, their attitude and sensibilities (or lack thereof) that matter.

[dukeh62]

Hell, look at photos of what any of the old Delta guys are usually playing these days...pointy guitars through Peavey amps!

We opened for Honeyboy Edwards a few months ago. His weapon of choice? A Silvertone Paul Stanley model!!!!

[monstermike]

We opened for Honeyboy Edwards a few months ago. His weapon of choice? A Silvertone Paul Stanley model!!!!

Multiple choice snarky answer:

1) I guess he couldn't call himself a "West Coast Bluesman," then...

2) See? You need a SILVERTONE to play the blues!

I'm just having fun with you, straightblues.

[Poppa Stoppa]

I saw Ronnie Earl using a PRS, I'm sure. Anything uncool is cool.

[Scott Miller]

"Anything uncool is cool."

I have some totally uncool Lace Sensors for which I will accept in trade some entirely too-cool Don Mare Jr. Watson Strat pickups.

[Poppa Stoppa]

"Anything uncool is cool."

I have some totally uncool Lace Sensors for which I will accept in trade some entirely too-cool Don Mare Jr. Watson Strat pickups.Hah! You got me there!

[dddelta]

I thought I'd give you guys in this thread first listen to some of our new album.

We cut it last weekend over 3 days - 14 tunes onto 2 inch tape, all done live.

Here's the link for the new tunes -

http://www.soundclick.com/bands/pagemusic.cfm?bandID=549013

[frank62]

as a long time chicago resident and blues guy i must say that is some real nice work. traditional chicago with some west coast jump! the fact you did it live on 2" tape gets extra points.

[dddelta]

as a long time chicago resident and blues guy i must say that is some real nice work. traditional chicago with some west coast jump! the fact you did it live on 2" tape gets extra points.

Thank you!

We had a blast recording it. The mixing stage was the tiring part!

[ReddRanger]

Yeah dddelta, that's some cool stuff! Sounds like you had fun too. How were guys miked? Just curious because I like the sound.

[pete kanaras]

What guitars must you own in order to call yourself a true West Coast bluesman?

shoot me

[Echo Are]

Now, pete, no need for such drastic measures, lol.

I'm in the same boat. I checked my amps, and they all have at least 10 knobs on 'em. One even has a couple of push-push switches, and a cooling fan:worried.

[TwoFeets]

I thought I'd give you guys in this thread first listen to some of our new album.

We cut it last weekend over 3 days - 14 tunes onto 2 inch tape, all done live.

Here's the link for the new tunes -

http://www.soundclick.com/bands/pagemusic.cfm?bandID=549013

Some fine playing and I like the vocals too, which most people seem to neglect these days.

[GOLDENSTRAT]

Scored 3 used lps tonight - B.B. King " Singing the Blues" on the original Crown label, an autographed Eddie Shaw "King of the Road", and Tiny Grimes in France 1970 with Jay McShann, George Kelly, and a French rhythm section, I'm groovin' on it now.

[Schwalbe]

Cool, and interesting. But...why a maple board Tele(my Tele has a rosewood board). Just curious.
The Tele I'm currently using has a rosewood board, does all kinds of Blues just fine. Way back when, the first recording project I did with Mischo, I played a Peavey T60 w/ maple board thru a PV Renown. You could use a Gem 777, even use the wammy bar (the lime green one would really clash with bowling shirts though). You'd take a lot of heat (I did with the PV rig) But if you play right it'll still sound OK.
I saw Billy Flynn playing a J Turser 335 into an old PV, (maybe a Bandit?) just a couple weeks ago.

[jetlag]

Now, pete, no need for such drastic measures, lol.

I'm in the same boat. I checked my amps, and they all have at least 10 knobs on 'em. One even has a couple of push-push switches, and a cooling fan:worried.

Echo - If you switch to a twelve string, 10 knobs will be fine. Hey, that amp almost sounds like my old Seymour Duncan convertible amp ..............

Pete, hope you aren't short for this world bro, but if so ................. can I have your H19? While I'm at it - your Deluxe Rev is in clear violation. Not only does it have 9 knobs (that I know of, probably more on the back), the switching relays and cascading gain stages in it are a big no. A summons will be issued shortly .............. BTW, how you doin' ?? I need to check Jake's site and see when you'all are back in these woods. Paulie's making it here this month, it would be nice if you were too.

[Echo Are]

jetlag--actually, it's a PV Bravo 112. I saw a Seymour Duncan Convertible amp not too long ago in a consignment shop. Pretty unique idea back in the '80s, those interchangeable preamp tube modules.

Schwalbe--Cool! Don't forget the Jem's "monkey grip" handle :rolleyes:. I used to have a very early-'70s(1973?) PV Classic, 2 X 12, 50 watts, solid state except for a pair of 6L6s for power. It had silver metal knobs that looked like they came off of a stereo. It could do some really tubey lower-gain blues tones. Here's a pic of it. I miss it. It was cosmetically immaculate, except the tail was broken off of the y in the PV logo(I see that a lot in old PVs, lol).http://i103.photobucket.com/albums/m139/NayrYes/OldPVClassic.jpg

[S.W.Erdnase]

Some guy goin' 'widdley-diddley-widdley-widdlee' on a guitar.

http://www.youtube.com/watch?v=QUPhKgxIvZ8

[S.W.Erdnase]

Some guy goin' "blaaaaaurgh" on a harmonica.

http://www.youtube.com/watch?v=hrRexAoO3v4

[Poppa Stoppa]

Echo Are, that model Peavey was my first decent amp, back in about '75. Some cool clean tones on it, nice reverb.

[straightblues]

Seriously, what kind of question is that? Play blues on what you have, and if you don't like that, buy something else!Well it the kind of a question from a guy who shows up with an Explorer on occasions to play West Coast Blues and that is a guitar that is definitely unaceptable. I get strange comments from all of the players. So I though I would get the official list of what is the right guitar these days. (I know you were having some fun, so am I.)

[pete kanaras]

cascading gain stages

vat?!? moi with that dweedle stuff? never in a million years. that dr is one very special amp though. the relays (those crazy expensive gas filled gold fibucated ones) in are in there to do things you normally "can't" do, like having a presence control on channel one only, cathode bias ch 1 only. crazy $$$ because they're in the audio path and are the most see-thru relays available. that amp is an ever evolving platform for ideas, while always keeping ch 2 basically(3 position bright switch)bone stock. sounds great with a peavey t60! and speaking of jem777's, gawd what a total pos of a guitar. when i was learning basic repair in a guitar store we had 6 or 8 of those arrive new, the green ones with the handle. and every single one of them was unplayable because of the fret/tang ends protruding out from the sides of the fingerboard. and guess who had to fix 'em? horrible quality control on those guitars.

the jake gig ended. the expenses just killed him because he had to fly us in from all over the place, gas, etc etc. he's getting local guys i'm sure, makes so much more sense for him. i enjoyed that gig. so anyway i'm home at the moment working, gigging locally and getting the house in order. i got the mixes of the final Shambells show from last year and it's some pretty sick shit bro, i'm very happy with it. and i found the roughs of karl's album too, with the rooms mikes turned up and no reverb on the vocal. i so enjoyed doing that record with you guys. tell you what, i'll trade you my h19 for that pro i used! brr what a amp. i played with paulie last sunday and man we had a ball. hmm, maybe i'll jump in his checked luggage....

[dddelta]

Yeah dddelta, that's some cool stuff! Sounds like you had fun too. How were guys miked? Just curious because I like the sound.

The studio we used was in a guys house! Small, but we wanted to capture a live feel.
I used a Pro Junior on all of the recording. It was close mic'ed on the front with an SM57 and was placed in the bathroom! (Tiled Toilet Tone!!)

The harmonica amp - a 4x10 Harpking - was in the room next to me (SM57), the drums were in another room and the bass was direct into the desk. The vocal mic - electrovoice - was in the hall so my amp was bleeding into that a bit too as I had to leave the door of the bathroom open so we could see each other.

We got a nice surprise with the overall sound.
I was delighted with the guitar sound, on another recording it might be completely different. I guess it usually happens like that.

[monstermike]

Well it the kind of a question from a guy who shows up with an Explorer on occasions to play West Coast Blues and that is a guitar that is definitely unaceptable. I get strange comments from all of the players. So I though I would get the official list of what is the right guitar these days. (I know you were having some fun, so am I.)

Unacceptable to whom? Duke Robillard had an Epi Explorer for a long time - one of the pseudo-Korina ones - and when I asked him about it, he said, "it's the best jazz guitar I have."

[Scott Miller]

"Some guy goin' "blaaaaaurgh" on a harmonica."

I think for the West Coast sound he needs to go "Hee-haw."

[monstermike]

No - "Hee-haw" is a given regardless of genre. "Blaaaaurgh" - especially when played in 3rd position on a chromatic harmonica - is characteristic of the West Coast sound. See also: George Smith.

Nice job guys! Both on the wheedle deedle and the blaaaurgh.

[jetlag]

the jake gig ended. ... and i found the roughs of karl's album too, with the rooms mikes turned up and no reverb on the vocal. i so enjoyed doing that record with you guys. tell you what, i'll trade you my h19 for that pro i used! brr what a amp. i played with paulie last sunday and man we had a ball. hmm, maybe i'll jump in his checked luggage....

Pete - sorry to hear that's the end of that gig. I was hoping to catch you the next time thru and play together a bit. Glad you're seeing and playing with Paulie, that's good stuff. If you needed a raw version of Kurt's CD you shulda asked. I have that stuff sitting around here no prob. Hell, I've got the 2-inch tape too. I had a ball playing with you on that too. Yeah, that pro did sound great - didn't hurt having your H19 and hands attached to it.

[rhartt1234]

So I get a little time alone this afternoon for the first time since baby #3 was born a week and a half ago. Do I play harmonica like I know I should? No I play guitar. Why I waste my time on this thing I'll never know. Anyhow, my question is: What f@*#ing planet is Bill Jennings from? I have been aware of him for nearly half my life and every time I go "Hey maybe I'll learn some Bill Jennings today." I end up even more confused. Most guys, even if I can't play it, I know what's going on. No such luck with ol' Bill. Which only proves my theory lefties are weird. (All you lefties don't get pissed at me. My oldest daughter is a lefty which means her field hockey stick or whatever malarkey she gets into will cost me 15% more $$) The moral of the story: Ryan should practice harmonica when he is given the opportunity.

[Schwalbe]

So I get a little time alone this afternoon for the first time since baby #3 was born a week and a half ago. Do I play harmonica like I know I should? No I play guitar. Why I waste my time on this thing I'll never know. Anyhow, my question is: What f@*#ing planet is Bill Jennings from? I have been aware of him for nearly half my life and every time I go "Hey maybe I'll learn some Bill Jennings today." I end up even more confused. Most guys, even if I can't play it, I know what's going on. No such luck with ol' Bill. Which only proves my theory lefties are weird. (All you lefties don't get pissed at me. My oldest daughter is a lefty which means her field hockey stick or whatever malarkey she gets into will cost me 15% more $$) The moral of the story: Ryan should practice harmonica when he is given the opportunity.

Well there you go. See what happens?? :rolleyes:
Suppose I started trying to play harp!!!:rotflmao

[Strat-O]

What guitar for west coast blues? Ha! We're all trying to be cool and look the part bro'. Just pick up a picture of any of our 'heroes'...whatever guitar they're playing is what we all play. It wouldn't be as much fun if we did it any other way would it? :-) We're all only as cool as the musicians we try to copy...can't get away from those giant shoulders!

But, you can't imagine how much fun I've had with the strange looks I've gotten from the Squire 51 on stage. Then the inevetable question on break..."Man, that guitar sounds great, what is it?" The $150 part of the story is the punchline. But, I never would've given it a shot if I hadn't seen Curran playing one. So there you go. I still wouldn't consider it to be on the cutting edge of redifining the imagery of classic blues guitars. Its got Hollywood Fats tone in spades though. But who wants that smelly old tone anyway? :dude

I tell ya' if I could round off the points on a PRS headstock, I'd probably be willing to own one of his thick hollow body models. They look cool as crap to me. Except for the pointy part.

[fretshop]

Well there you go. See what happens?? :rolleyes:
Suppose I started trying to play harp!!!:rotflmao

Let's see...does this mean that if I concentrate on playing harp...I'll be a better guitar player...? Hmmmm


xxoo

Blaurrrrgh

[fretshop]

Posted by Scott Miller:
"Mike, I think you and I might have to start a mini-humbucker club, because they seem under-appreciated. Those little suckers just KILL."

One of the BEST I've ever played, or worked on was Duke Robillard's Epi Zephyr Deluxe with mini humbuckers. Very responsive. Play near the fret board...tones of acoustic vibe, play in the center of the body...almost an old L-50 or ES150 tone, play at the bridge, tons of snap. In hind site, money was tight, but I'm really sorry I didn't go the extra mile to buy it. Maybe I could have sold some furniture, or my mom's car, and told her it was stolen. Now that I think of it I don't believe Duke keeps any instrument for very long....I remember playing the Gibson he used on the Duke's Blues sessions...and he grumbled that he wished he had the Epi back.

[fretshop]

Munster Mick : Jason Lollar says Hey !!! How's my god son doin' ? Carol/Cheryl Just yelled Hey !!!, too....The best to Jeanette.
Do you still want to borrow my Ibanez Jem this weekend ?

[RickyKing]

I have had a couple of Duke's guitars and he ALWAYS wants them back!

[pete kanaras]

Which only proves my theory lefties are weird.

it's a gift, thank you thank you....

[zappafrank]

Posted by Scott Miller:
"Mike, I think you and I might have to start a mini-humbucker club, because they seem under-appreciated. Those little suckers just KILL."

One of the BEST I've ever played, or worked on was Duke Robillard's Epi Zephyr Deluxe with mini humbuckers. Very responsive. Play near the fret board...tones of acoustic vibe, play in the center of the body...almost an old L-50 or ES150 tone, play at the bridge, tons of snap. In hind site, money was tight, but I'm really sorry I didn't go the extra mile to buy it. Maybe I could have sold some furniture, or my mom's car, and told her it was stolen. Now that I think of it I don't believe Duke keeps any instrument for very long....I remember playing the Gibson he used on the Duke's Blues sessions...and he grumbled that he wished he had the Epi back.


Well, this is not the SAME EXACT guitar of Duke's you played, and they ain't no Mini-Hums---but it is ONE of Duke's Epi Zephyr Deluxe Regents' that I was lucky enough to score awhile back---after some emails to you, George, IIRC...

http://i66.photobucket.com/albums/h271/64strat/epiDZR1.jpg

...and even these little ol' NY pickups sound just fine, IMO!!!:BEER

ac

[dukeh62]

Pete and jetlag...I'll second (third?) the comments on BOTH your playing on Kurt's record. You both sound fantastic!!!

[mikelaw]

i dont have any mini's but i wish i did. i have a friend who has an original riviera that sounds amazing. also friends with 70s goldtops with minis in them that are great sounding....i think they all sound great in any guitars they are in. BUT, i have yet to play a guitar with them in it. i am on a humbucker kick BIGTIME. through my silvertone 1484 head into 4-10 cab. since i got my cheapo hamer 335 i totally dig hb's now. also played a friends lp standard and had such a blast on that as well.

[zappafrank]

Pete and jetlag...I'll second (third?) the comments on BOTH your playing on Kurt's record. You both sound fantastic!!!

Thanks for reminding me to go back a page or 3 and listen to those!---I gave myself a 'mental note' to do just that---2 days ago, I think!---gettin' old's a beeyotch

ac

[rhartt1234]

Let's see...does this mean that if I concentrate on playing harp...I'll be a better guitar player...? Hmmmm


Playing guitar has certainly helped me become a better harp player. Knowing chords and scales has opened up my playing to a more melodic and harmonic approach that, of course, goes completely, out the window on a gig and I resort to the same old sh!t.

After going nuts trying to learn the lick 25 secs. into "Stomping with Bill" I decided to pack it in and pickup what I could from it on harp. That nonsense sure is a lot easier to play on an instrument I'm good at, especially since I don't have to deal with doublestops.

[dukeh62]

I thought I'd give you guys in this thread first listen to some of our new album.

We cut it last weekend over 3 days - 14 tunes onto 2 inch tape, all done live.

Here's the link for the new tunes -

http://www.soundclick.com/bands/pagemusic.cfm?bandID=549013


Great job. Sounds really good. Congrats!

[fretshop]

Well, this is not the SAME EXACT guitar of Duke's you played, and they ain't no Mini-Hums---but it is ONE of Duke's Epi Zephyr Deluxe Regents' that I was lucky enough to score awhile back---after some emails to you, George, IIRC...

http://i66.photobucket.com/albums/h271/64strat/epiDZR1.jpg

...and even these little ol' NY pickups sound just fine, IMO!!!:BEER

ac

Best centerfold photo I've seen in years !!! That particular guitar was very nice, I liked it alot...and then Duke just up and got rid of it. I have a particular liking for the NY pups.

[fretshop]

I have had a couple of Duke's guitars and he ALWAYS wants them back!

did you ever get a chance to try out the Blonde Zephyr Deluxe ?

[Strat-O]

Cool music Kev!

[fretshop]

Playing guitar has certainly helped me become a better harp player. Knowing chords and scales has opened up my playing to a more melodic and harmonic approach that, of course, goes completely, out the window on a gig and I resort to the same old sh!t.

After going nuts trying to learn the lick 25 secs. into "Stomping with Bill" I decided to pack it in and pickup what I could from it on harp. That nonsense sure is a lot easier to play on an instrument I'm good at, especially since I don't have to deal with doublestops.

I started studying harp with Carlos Colina. It's something I always wanted to do. He told me to put away the Special 20's and Golden Melodies and use the Big River Harps. Alot of the tongue blocking exercises still have me baffled.

[dukeh62]

Hey all you Stratotone owners...what fret wire have you used to refret those bad boys? Mine is due very soon and am contemplating a few sizes.

Thanks in advance...e

[Poppa Stoppa]

I started studying harp with Carlos Colina. It's something I always wanted to do. He told me to put away the Special 20's and Golden Melodies and use the Big River Harps. Alot of the tongue blocking exercises still have me baffled.Technique? Pah. When you can cover the front row with shards of shredded brass, you'll know you're cookin'.

[RickyKing]

Hi Fretshop,
No not that one but I have had an late 40's Epi Zepher of his and also the One much like above w/a Bartolini neck PU that some one on the North shore of MA now has.

Duke,I am having a refret done as we speak on a refin H-44 I got off of ebay.
I am a fan of the 6150 wire. Stewmac 0149.
Good Luck!

[rhartt1234]

http://www.youtube.com/watch?v=NmDWdy-XKUU

[aja]

http://www.youtube.com/watch?v=vCtu_Xg3BK8
B.B. King in a black club c.1970

have to redeem my last you tube posting of B.B :)

[mikelaw]

big river harps? :( eewwwwwww

[mikelaw]

Hey all you Stratotone owners...what fret wire have you used to refret those bad boys? Mine is due very soon and am contemplating a few sizes.

Thanks in advance...e

thanks in advance here too. i REALLY have to do mine.

[Dave Orban]

Hey all you Stratotone owners...what fret wire have you used to refret those bad boys? Mine is due very soon and am contemplating a few sizes.

Thanks in advance...eWhy would you want to use ANYthing but 6105s...?





Of course, that's just me.;)

[fretshop]

Why would you want to use ANYthing but 6105s...?

Of course, that's just me.;)

For most of my clients, choosing fretwire is a matter of feel and playing style, so whatever they want, I'll install it without comment... BUT, I agree with you about the Dunlop 6105. Unlike most of the other readily available "after market" wire, it is a true 18% hard wire, and seems to last two to three times longer than most other product, we've tested. Most of my clients who've switched to 6105, or the jumbo 6100 have remarked that the notes are clearer and sustain much better. I do have clients however, who don't mind the cost of re-fretting twice a year, and who insist on my installing standard or even smaller vintage wire.

[TwoFeets]

I'd like to chime in here and say that Ryan, the weirdness and difficulty of Bill Jennings is not at all attributable to the fact that you're primarily a harp player. His stuff gives me fits and... yeah I usually end up reverting to the same old shite when I play live.

[HappyValley]

I'd like to chime in here and say that Ryan, the weirdness and difficulty of Bill Jennings is not at all attributable to the fact that you're primarily a harp player. His stuff gives me fits and... yeah I usually end up reverting to the same old shite when I play live.

Hi guys. Bil Jennings' stuff is unique in that his approach was pretty unorthodox time-wise; He enters and exits phrases in some weird spots, not unlike some of Charlie Christian's live tracks where he's just improv'ing like a mo'fo'. Jennings also has some beautiful chord voicings that he arpeggiates a LOT and adorns with the usual passing tone/approach note thing...plus he uses those diminished runs (Alexandria VA) that defy common blues harmony (Thanks to Jon Ross for re-hipping me to that approach!) So, yes Ryan, TwoFeets; I agree- it's a nightmare trying to learn his stuff!!
All that aside, the Gods of Tone were with me this weekend; Left my REAL '63 brown tank at the club on Friday (??!!), only to find out the next day the club owner (Mitch at the Strange Brew, Manchester,NH USA) saw it & locked it in his office. Wheeew.....a close one !! He's my absolute hero at this point!
Not sure what the moon phases were this past weekend, but 3 crazy packed gigs in a row w/folks dancin'on the tables, hootin' hollerin' , etc.etc. Good times....

[jetlag]

I'm with the other guys on dunlop wire and 6105s or 6100s. The extra height those two wires afford is nice with stratotones - with those necks a-bowing, the higher wire makes the action seem lower. Go with 6105s for a medium sized wire that's tall or 6100s if you want smoother bends and don't mind having jumbos on your guitar. I like them both in H44s, either way you'll love them compared to what's on there now. The stuff Ricky mentioned is, to me, the ideal width (in between the other two I mentioned), I just wish they made it taller. I also agree with fret and everyone else on the stew mac wire - when I've tried it, I went thru it like butter. Stick with the dunlop wire (or something comparable).

Oh, and I feel everyone's pain when it comes to learning Bill Jenning's stuff. In many ways, it's kind of analogous to learning Walter's Roller Coaster on harp - so much of it is out of your comfort zone. It's hard enough to learn and to play, much less incorporate into your thing on the bandstand.

[RickyKing]

Hi all,
As far as the wire goes,I have always been a sucker for the not too tall and wide feel.
As far as the Stewart Mac wire goes,I never noticed it being much different than Dunlop, but you learn something new everyday! BTW Stewart-Mac claims their wire is 18% same as Dunlop...

Hey Ryan,if you are having a problem with Jennings, try to find his influences and work backward a little bit
and maybe some of his idea's will appear a bit easier to you. Like checking out Snooky to pick up on some of Little Walter's idea's.That and a slower-downer device always helps.Also thinkin' of the chord changes he is playing over can sometimes point the way. Just some ideas for ya' to think about.

[dukeh62]

So I'm sitting here at work listening to some tunes, and I started thinking about all the great blues shows I went to when I was first getting into this music. So inspiring! I remember checking out the listings for upcoming blues shows and salivating over all the great acts. I think the only dilemma I had was convincing my wife (then girlfriend) to go to these shows.

Fast forward to now...it's all gone! It's just CRAZY to think that nobody is touring anymore b/c the scene has dried up so much. Such a bummer. I miss those magical nights of going out and just being FLOORED by my favorite acts. Luckily we've got a few of 'em up here in the northeast to keep us entertained. But I sure do miss getting to see everyone.

Rant over.

[fretshop]

big river harps? :( eewwwwwww

They're affordable, and you can change the reed combs rather cheaply.

I was looking at the Bushman harps....but they're very pricey for a beginner. What're you guys using ?

[RickyKing]

Duke,Times is hard baby,and the hustlin's really on...

[HappyValley]

So I'm sitting here at work listening to some tunes, and I started thinking about all the great blues shows I went to when I was first getting into this music. So inspiring! I remember checking out the listings for upcoming blues shows and salivating over all the great acts. I think the only dilemma I had was convincing my wife (then girlfriend) to go to these shows.

Fast forward to now...it's all gone! It's just CRAZY to think that nobody is touring anymore b/c the scene has dried up so much. Such a bummer. I miss those magical nights of going out and just being FLOORED by my favorite acts. Luckily we've got a few of 'em up here in the northeast to keep us entertained. But I sure do miss getting to see everyone.

Rant over.

You ain't kidding. I remember years ago wen I first started going to jams and learning this stuff that you could go out any night during the week and sit in at a blues jam; our own RickyKing had a residency at Harpers Ferry on Wednesdays, Chris "Stovall" Brown at the same joint on Sundays, and countless others during the week at various locales throughout Boston/Cambridge. Then when the weekend came around, it was a question of " WHICH great show should I go to?" as opposed to now which is more like" Hmm...the 3rd week in November there's finally a national act playing in Hootville....only a 2 hr. ride.....Hmmm..."
Case in point, @1990; Had to leave a Little Charlie gig early to go catch Duke Robillard for the 1st time at another spot on the same night. I PRAY for such dilemmas now!

[fretshop]

Hi all,
As far as the wire goes,I have always been a sucker for the not too tall and wide feel.
As far as the Stewart Mac wire goes,I never noticed it being much different than Dunlop, but you learn something new everyday! BTW Stewart-Mac claims their wire is 18% same as Dunlop...

Hey Ryan,if you are having a problem with Jennings, try to find his influences and work backward a little bit
and maybe some of his idea's will appear a bit easier to you. Like checking out Snooky to pick up on some of Little Walter's idea's.That and a slower-downer device always helps.Also thinkin' of the chord changes he is playing over can sometimes point the way. Just some ideas for ya' to think about.

Ricky...I do business with both Dunlop and Stew Mac, but my preference is the Dunlop wire. There are other companies out there selling versions of "18%" Nickel Silver wire, but Dunlop is the one company that specifies that their wire meets a "Rockwell hardness standard" through testing. Dunlop does not manufacture the fret wire, but buys mainly from PolyMetallurgic Inc., a U.S. firm that was originally Angel Horton, then Cook Horton. They are mil spec. all the way. The other major wire manufacturer is Van Ghent in Holland. Most of their wire is the OEM stuff you find in new Gibson/Fender et all instruments....12% hardness, easy to work with and install by machine. The stuff wears out very quickly. BTW, I still have OEM Gibson and Fender wire from the 50's....all of it is 12%.
I recently restored a Strat neck for Jetlag and used real 18% 6100...His first comment was about how much more lively the neck was.

Just tryin' to help you guys save some dough, and smarten up when dealing with repair shops.

I'm putting #6000 in my H-44 AND my H-62....it's Monster Mike approved.

[fretshop]

You ain't kidding. I remember years ago wen I first started going to jams and learning this stuff that you could go out any night during the week and sit in at a blues jam; our own RickyKing had a residency at Harpers Ferry on Wednesdays, Chris "Stovall" Brown at the same joint on Sundays, and countless others during the week at various locales throughout Boston/Cambridge. Then when the weekend came around, it was a question of " WHICH great show should I go to?" as opposed to now which is more like" Hmm...the 3rd week in November there's finally a national act playing in Hootville....only a 2 hr. ride.....Hmmm..."
Case in point, @1990; Had to leave a Little Charlie gig early to go catch Duke Robillard for the 1st time at another spot on the same night. I PRAY for such dilemmas now!

The 90's were alot of fun, but I remember the Blues scene in the 80's being akin to a Felini flick on high speed. Geez, you could go into Manhattan, or anywhere in Central or North Jersey and see a major act three, maybe four nights a week. Pinetop, Hubert Sumlin and Jimmy Rogers actually rented a place in Brooklyn because they were performing here so much. I ferried the Myers Brothers around for a week at one clip, and had Sonny Rhodes and his "wife" living at my mom's place for over a couple weeks. The scene was insane. All of those old guys loved New England the best though...except Hubie. He really relished the trouble he got into with babes in New York....I won't mention any names.

[Poppa Stoppa]

FWIW I had 6150 fretwire (.046" tall) put in my strat and it feels great. I think I would like even taller, like 6105 (.047") or 6100 (.055"), so as to get even less 'wood' under the fingers. I guess if you put in the taller wire you can always dress it down a little if it's too tall & feels like speedbumps.

On the Bill Jennings thing, Ryan I had a listen just now to that lick at 25 seconds on 'Stompin' With Bill'. The chords go F-Am-G#m-Gm at that point if that helps...? He does the same kind of move a couple of times in the tune so it's possible to get another view of it. The trouble with Bill Jennings was that, apart from being a freakin' phenomenon, because he played left-hand on a standard strung guitar, everything sounds a bit different.

JB Lenoir's 'Talk to Your Daughter' came up a little while ago - the chord he plays at the end seems to be a C7 like this:
e---x
b---11
g---12
d---10
a---x
e---x

You guys got any advance on that?

[Scott Miller]

Two things that will get you started on Bill Jennings:

1. A common thing for jazzers is for the I - IV transition, do a diminished scale. Jennings, however, will do that but start in a weird place, or go off the scale completely. A good example is in the afore-mentioned "Let's Hang Out Tonight" on one of those $2.98 Jimmy Preston CDs from Oldies.com.

2. Another common jazzer thing is over the I on the way to the V, muck around with chord tones from the VI. It's basically implying a VI - ii - V. The money note there is the major third of that implied VI, or in other words, you're hitting the flat nine of the root chord. It can sound like crap, or it can sound like Bill Jennings, which is where his timing genius comes into play. Also, you can't neglect the licks he goes into AFTER doing that wacked-out stuff. The resolution is just as important as the tension.

I've worked on both those concepts; the first is doable, the second, I mostly sound like crap. And if you think Bill Jennings is hard, try Wes Montgomery. I spent about 1.5 hours with Slowdowner on one of his little ol' I-IV transition licks and barely made it out alive. I got nothing out of it but a headache.

[Poppa Stoppa]

Yeah Scott, my hero Grant Green is an ace at those things. When you get that flat nine sound in the right place it sounds very cool indeed....

[Dave Orban]

They're affordable, and you can change the reed combs rather cheaply.

I was looking at the Bushman harps....but they're very pricey for a beginner. What're you guys using ?Just a plain old Marine Band.

Sometimes the Hohner Professional (the black ones).

[HappyValley]

Two things that will get you started on Bill Jennings:

1. A common thing for jazzers is for the I - IV transition, do a diminished scale. Jennings, however, will do that but start in a weird place, or go off the scale completely. A good example is in the afore-mentioned "Let's Hang Out Tonight" on one of those $2.98 Jimmy Preston CDs from Oldies.com.

2. Another common jazzer thing is over the I on the way to the V, muck around with chord tones from the VI. It's basically implying a VI - ii - V. The money note there is the major third of that implied VI, or in other words, you're hitting the flat nine of the root chord. It can sound like crap, or it can sound like Bill Jennings, which is where his timing genius comes into play. Also, you can't neglect the licks he goes into AFTER doing that wacked-out stuff. The resolution is just as important as the tension.

I've worked on both those concepts; the first is doable, the second, I mostly sound like crap. And if you think Bill Jennings is hard, try Wes Montgomery. I spent about 1.5 hours with Slowdowner on one of his little ol' I-IV transition licks and barely made it out alive. I got nothing out of it but a headache.
Well said, Scott....
Those were similar to some of the points I attempted at making on my earlier post but nowhere near as articulately as you just did.....you sound like you teach a bit...if not, you should!
I really think that the timing of the phrases with all these guys,( Christian, Tiny, Billy Butler,the Moores) both with intro. & resolution, is where the true " mystery " lies; Back to the woodshed...

[fretshop]

Just a plain old Marine Band.

Sometimes the Hohner Professional (the black ones).

I have a box full of Special 20's and Golden Melodies but never really liked the tone. Dennis Oellig at "Mr. Mic" uses Hering harps, but warned me that they take alot of breath...not easy to blow. I'm still shopping around...asking questions. No one I know is using Bushman's although the company has been trying to get us to carry the line at the studio.

[jetlag]

FWIW I had 6150 fretwire (.046" tall) put in my strat and it feels great. I think I would like even taller, like 6105 (.047") or 6100 (.055"), so as to get even less 'wood' under the fingers. I guess if you put in the taller wire you can always dress it down a little if it's too tall & feels like speedbumps.



Poppa, cool stuff. Wish I had a guitar handy!

On the frets and dimensions, you have to be careful. Lot's of people advertise "dunlop" numbers on frets since that's the standard, but their actual "brand B" wire may or may not conform to the dunlop specs. Usually the width will be the same or close enough, but the height may vary significantly. For example, the 6150 you mention, Stewmac IS the .046 but dunlop is only .042 - enough so to probably cost me a fret redress. Same with the 6105 you mention, dunlop is actually .055 just like their 6100 stuff, whereas yours is .047 which IS a big disparity. I know all of this is micromania, sorry. I didn't sweat it myself until I paid big bucks to have a famous luthier refret an old strat of mine. Played great, it was wonderful work. But then a year later (or less) it needed a fret dress - after the fret dress I couldn't play the guitar. The frets were too low and the resultant action gave me tendonitis. It was the world's most expensive one year fret job! So anyway, the point is, you have to be careful with relying solely on Dunlop model numbers or have a great repair guy that does all the thinking for you and understands EXACTLY what you want.

[jimfog]

Good stuff on Jennings....thanks. We should put together the "ultimate" Bill Jennings discography......I know a lot of recordings have been mentioned on all the permutations of this thread......but it would be cool to have it all in one place.

On a tangent here......

Any of you ever re-think your "vintage tone" thing? I thought for years that all I wanted when I play real blues was the "REAL" tones......you know, in this case, tweed, P-90's, verb tank, etc.

But, more and more, while I love the old school style, playing and tunes......tonally, I'm wanting to hear something else.

Case in point, on this weekend's jump gigs, I found myself using a (GASP!!) overdrive pedal!!!! (Eternity).....and as long as I didn't over-do it, it worked and sounded great.

Case in point 2.......I've been on a search for a good 'verb tank for my Wampus Cat and Bassman LTD.......finally ending up with an Uncle Spot 'verb......sounds AWESOME.......but again, it's not what I'm wanting to hear, when the rubber hits the road. Even a VERY little slapback delay is sounding much better to me.

P-90's??? LOVE them when others use 'em.....me? Can't play them.....gotta be a tele, strat or even 335 w/ low output p'ups......

Really, I shouldn't be worried about this crap, just play what feels right......no one cares but me and the 10 other junkies in the world who dig this stuff......but at times I find myself self-flaggelating over the minutae.

I need to remember it's music, not a Civil War re-enactment!!

Anyone else ever feel this way?

- jim

[mikelaw]

ryan uses sp.20's as well as alot of other friends of mine who get BIG sounds out of them. Out of the box I think sp.20's are the best going really. However I use marine bands straight up.

You name the blues guy and most of them play marine bands. whether they are tuned special, modified or not.

My advice to people starting out. special 20's or marine bands. Marine bands take alot of WEIGHT, i play really hard and they are the only solid responsive harp out there. Herings are amazing too. Really nice well made marine bands really.

Hering 1923 vintage harps are made to pre-war marine bands specs and tuned as such with 1 or 2 of the notes flattened by up to 20 cents or so....big CHORDS!!!!!!!!!!!! yummy.

[Poppa Stoppa]

On the frets and dimensions, you have to be careful. Lot's of people advertise "dunlop" numbers on frets since that's the standard, but their actual "brand B" wire may or may not conform to the dunlop specs. Usually the width will be the same or close enough, but the height may vary significantly. For example, the 6150 you mention, Stewmac IS the .046 but dunlop is only .042 - enough so to probably cost me a fret redress. Same with the 6105 you mention, dunlop is actually .055 just like their 6100 stuff, whereas yours is .047 which IS a big disparity. I know all of this is micromania, sorry...Not micromania at all, Jetlag, this is important info, thanks so much! I'm about to have my ES330 refretted and while it may not be as rare a bird as Eric's H44, I want to get it right! Think I'd better start making some measurements with a micrometer...thanks again.

[pete kanaras]

Fast forward to now...it's all gone!

just about duke, it seems. this year i was out pretty much non-stop from february until mid september and i've never seen it as bad as it is right now nationwide. it is a major struggle. but it's still do-able, depending on a band's level of commitment and exposure. trying times for sure....

man i remember in the mid/late 80's not thinking twice about driving the 3 1/2 hours to boston on an off night to catch sugar ray at harper's ferry. and yeah, like fret says manhattan was very hot at the time too. dan lynch's, manny's, the original tramps, fannie's oyster bar, all great rooms. in fact it was so good then that sometimes we used to bring up guys like lowell fulson or hubert or carey bell on a sunday. they'd usually(not always though)tour the region solo and simply get a good local band to back 'em. so, when we could afford it we'd throw 'em some good money to drive up themselves on a sunday and we'd back 'em up. priceless stuff.

[HappyValley]

Fast forward to now...it's all gone!

it is a major struggle. but it's still do-able, depending on a band's level of commitment and exposure. trying times for sure....



There it is. Not to grandstand here, but the reality is that us "local, regional,indie label,blah blah blah" whatever you wanna call it types are really in many ways the proverbial torch -holders of sorts; The original guys , sadly, are leaving us for the great hereafter at a seemingly record pace; The touring bands of the 80's-90's and the current national acts can only tour the US intermittently given the current scheme of things financially, logistically and label -wise; (Europe seems to be the place to be for them!). That leaves it up to the guys gigging