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I love door harp personally and i've played it as background music when i've had company over and a few people went out and bought it. It's very laid back and simple stuff. It's really not for everyone though as mikey wasn't much of a piano player technically either. I like it a lot though for what it is: instrumental acoustic melodies in his style.Very cool thanks for posting.
How is Door Harp btw? It's been on my list to buy for a while but have never heard anything off it.
This is an outtake from 'the earth will swallow you' documentary. If you go to the other posts from this guy he also posted footage of Jorma learning 'chilly water' and Taj Mahal teaching them 'she caught the katy'.Very very cool. I wonder if there are more shots like this. Houser was a smooth player for sure. He barely looks like he is even trying there and it smokes.
Man...He could really make a SLO sound smooth.
Whats really interesting is how Jimmy has altered his playing since 06' to give Panic back some of that Houser vibe. Less notes (sometimes), meatier tone (Was SR now Fuchs TDS). Jimmy is so good at doing his job. I just wish he would throw that H&K Tube Factor in the trash.yeah, I'm not sure how he did it exactly it sounds 'sweeter' and more pure tone wise than I think a clean SLO should sound. He's also using those lace sensors as well but it's fairly chimey for those particular pups. he also seemed to have his volume pedal rocked back quite a ways most of the time even when he wanted it fairly loud and clean which you would think would take too much high end off, at least in my limited experience.
The guy was really good at odd aspects of guitar playing it's interesting to study him closely and try to pick out the things that made him so effective despite his (from a traditional sense) limitations phrasing and technique wise. My jazzbo fusion snob friend claims he's 'the greatest bad guitarist ever'. I'd love to hear jimmy herring's honest take on the subject now that he's had to learn some of his stuff and even struggled with certain licks like sleepy monkey to get the timing and feel right. (he's now got it pretty close after 3 years)
Love the light tremolo effect in the begining as well. (at least that is what it sounds like to me)
I have always thought that he got that sweetness from the fact he ran his amp so hard. Harmonics galore in my opinion. Even when things are clean, they just ring because the tubes are cooking. Here are his settings that I spotted on the Oak Mt. DVD (out of 10, not clock settings):yeah, I'm not sure how he did it exactly it sounds 'sweeter' and more pure tone wise than I think a clean SLO should sound. He's also using those lace sensors as well but it's fairly chimey for those particular pups.
I think this captures exactly why some guitarists don't like or appreciate his playing. It is the same type of thing the Edge does.the greatest bad guitarist ever
That is funny. He was great. He knew what he knew and how to use it to get his points across. I saw him play a lot of times back in the 90's. I always felt like every solo that he would just go off on was like he was going to the same place everytime. Hard to explain what i am trying to get across, but it seemed like every solo was the same "scale", same tone, same feeling. Like it was pure emotion and everytime he got a chance he would go to that place. I miss that. That and the ringing in my ears from his amp and that constant pumping of the volume pedal.