Love it! I have that box set and HIGHLY recommend it. I've owned and loved it since it was first released, but never had the courage to try and play any of it until Sonic Junction came along. Can't tell you how grateful I am to you all. Thanks Paul.
Great job Mike! I'd been doing the same thing with the vibrato (pulling down instead of pushing up) for years. Got it right way round there days, but really to good to have it confirmed by a pro!
I'd really appreciate if you could share anything about BB's tone in terms of amp/guitar settings. 'Live at the Regal' is probably the most perfect sound on record - any tips on what's going on there would be great.
Yeah. I think a lot of the Regal sound is room mics and the guitar leaking into the vocal and other instruments' mics - the pictures from that show have him using a rare 335 with a Varitone and Bigsby (or, conversely, a 345 with a dot neck, I guess) through a tweed Twin, so any of that beautiful warm reverb is either the room or was added later.
B.B.'s guitars in the Sixties often had the middle position out of phase, and he could get more or less of that phase cancelled sound by tweaking the individual pickup volumes, giving him a broad spectrum of tones to play with. Apart from that, it's pretty much down to his fingers and pick atrack - B.B. had a lot of diffferent guitar and amp tones, but the important stuff stayed the same, and that's the stuff that made the difference other than "warm, not too dirty, maybe some reverb. "
Hi gang - came across a really great article about Oscar Moore and the Fender Telecaster http://amodernist.blogspot.co.uk/2012/12/oscar-moore-and-fender-1951.html Thought some of you might enjoy it...
Here's my cut - I don't always feel I have the fat E string under control, especially around the Gb and F. But listening back it doesn't sound too bad...
This is a great tune and a great lesson. Thanks Paul!
Hi Charlie --- sounds really good. FYI that the cutting in / out is usually the "noise reduction" on your computer microphone. You can turn it off via the settings menu.
Great lesson and great advice on challenging ourselves. Thanks Paul - I was watching Barney Kessel talk the other day and he was saying to always try and hum, sing or whistle what you wanted to hear, which you always do in your lessons (so great minds clearly think alike!)
Ps lovely guitar. Can I ask what's the towel for? Guessing it has something to do with playing under hot lights?? Played a show last night I was so soaked after it was like I'd had a shower!!
Great lessons Mike! And Duke I hope your shoulders healing up.
I thought I really knew this song, but you've opened it up for me completley - starting with the key, now the intro - turns out I really didn't know it at all! Can't wait to see what comes next.
Otis Cobra recordings were some of the first blues I heard as a kid - they blew me away then and they haven't stopped since! There's something mystical/strange about the sound of those recordings that makes them stand apart from everything else being done at the time or since. Guess that a bunch of them being in a minor key adds to the almost spooky sound. And the use of the tremolo bar on a bunch (not so much this tune I think, but i could be wrong) I really appreciate the way you talked about the merged sound of the two guitars in your last lesson. Were they going thru the same amp perhaps?
Thanks! I don't know about the amp situation at Cobra, other than that Otis' amp was a Danelectro Challenger currently owned by a friend of mine in Chicago. It's possible that Ike Turner was playing through that amp or another like it, but one of the things most people don't talk about when it comes to gear is that a lot of amps sound basically similar.
The crazy whammy bar playing on "Double Trouble" is Ike, and Otis is playing with the finger vibrato. "All Your Love" has a pretty clear rhythm/lead division of duties, but a bunch of those tunes have two lead guitars, harmonica, and saxophone all winding their way through the sonic stew. It's a cool sound. In general, Ike's playing is more jagged and raw.
Like Bruce I've been catching up on SJ lessons from before I joined (got here for the end of the 'Gypsy Woman' series). Spent a great evening following this series.
I have the original Larry Davis record, but like most my generation, I know the tune from Stevie Ray Vaughan. I rarely listen to him these days because there are so many bad SRV impersonists at the jams here in the UK. But I saw someone post a video of him doing this and the emotion/intensity was just astounding.
Anyway, here's my cut. Not happy with the tone (but I am recording with a two year old asleep in the next room, so this is as much as I dare crank it!) I loved how you talked about the sloppy (but not sloppy) timing; the Buddy Guy style. That's the stuff I love in blues; the tension and release - stretching it to the limit without overkill. I think I've always had that fairly intiutively (i guess if you love it it'll be in you somewhere right?) but I know I need to tighten my technique way more to pull it off.
Thanks for a backlog of awesome lessons. Hope the shoulders getting better!
Nice work Bruce - I'm doing exactly the same as you; catching up on lessons from before my time on SJ. Looks like we even choose the same ones (just been through 'Flying Home' last week)
For sure! I have to admit for me speed has been something to hide inaccuracy behind! Hope I've grown out of that now - especially since SJ came on the scene. Thanks gents!
Get well soon Duke! Thanks for taking the time to share this history - beautiful stuff! Some of those names I've known and loved for years (especially Eddie Lang), others I'd never heard of before. There's nothing of Mary Osbornes on Amazon - going to have to hunt her down (thanks Bruce for sharing such great footage).
Where (if anywhere) does Django fit in this family tree for you?
Cool - I'm definatley going to get a copy. Really digging this tune!
Forgot to say how cool it is Sunny's joining on this one. Your album 'Tales from the Tiki Lounge' is one of my all time favourites!
Great to see you back Duke : )
And what a tune! I've been really digging a lot of Peggy Lee recently, especially the 'Black Coffee' album.
Forgot to say how cool it is Sunny's joining on this one. Your album 'Tales from the Tiki Lounge' is one of my all time favourites!
Thanks Paul - I love the concept of 'gravity notes'. That one phrase has opened my mind and the guitar neck!
Love it! I have that box set and HIGHLY recommend it. I've owned and loved it since it was first released, but never had the courage to try and play any of it until Sonic Junction came along. Can't tell you how grateful I am to you all. Thanks Paul.
Awesome work Mike!
Cool - thanks Mike
Great job Mike! I'd been doing the same thing with the vibrato (pulling down instead of pushing up) for years. Got it right way round there days, but really to good to have it confirmed by a pro!
I'd really appreciate if you could share anything about BB's tone in terms of amp/guitar settings. 'Live at the Regal' is probably the most perfect sound on record - any tips on what's going on there would be great.
Yeah. I think a lot of the Regal sound is room mics and the guitar leaking into the vocal and other instruments' mics - the pictures from that show have him using a rare 335 with a Varitone and Bigsby (or, conversely, a 345 with a dot neck, I guess) through a tweed Twin, so any of that beautiful warm reverb is either the room or was added later.
B.B.'s guitars in the Sixties often had the middle position out of phase, and he could get more or less of that phase cancelled sound by tweaking the individual pickup volumes, giving him a broad spectrum of tones to play with. Apart from that, it's pretty much down to his fingers and pick atrack - B.B. had a lot of diffferent guitar and amp tones, but the important stuff stayed the same, and that's the stuff that made the difference other than "warm, not too dirty, maybe some reverb. "
Cool - thanks Mike
Thanks (again) Paul. I love your enthusiasm for Barney - and I share it.
ps I have 'Honey Rock' it's a great tune! (Got it on a Verve compilation called 'Tease! The Best of Burlesque')
Hi gang - came across a really great article about Oscar Moore and the Fender Telecaster http://amodernist.blogspot.co.uk/2012/12/oscar-moore-and-fender-1951.html Thought some of you might enjoy it...
'Why? Because I can!' Love it Paul!
Such a great track - here's my cut - fluffed a little but i'm ok sharing it.
And yes, I'd love it if we looked at 'St James Infirmary' someday.
Here's my cut - I don't always feel I have the fat E string under control, especially around the Gb and F. But listening back it doesn't sound too bad...
This is a great tune and a great lesson. Thanks Paul!
Hi Charlie --- sounds really good. FYI that the cutting in / out is usually the "noise reduction" on your computer microphone. You can turn it off via the settings menu.
Great lesson and great advice on challenging ourselves. Thanks Paul - I was watching Barney Kessel talk the other day and he was saying to always try and hum, sing or whistle what you wanted to hear, which you always do in your lessons (so great minds clearly think alike!)
Ps lovely guitar. Can I ask what's the towel for? Guessing it has something to do with playing under hot lights?? Played a show last night I was so soaked after it was like I'd had a shower!!
Great lessons Mike! And Duke I hope your shoulders healing up.
I thought I really knew this song, but you've opened it up for me completley - starting with the key, now the intro - turns out I really didn't know it at all! Can't wait to see what comes next.
Otis Cobra recordings were some of the first blues I heard as a kid - they blew me away then and they haven't stopped since! There's something mystical/strange about the sound of those recordings that makes them stand apart from everything else being done at the time or since. Guess that a bunch of them being in a minor key adds to the almost spooky sound. And the use of the tremolo bar on a bunch (not so much this tune I think, but i could be wrong) I really appreciate the way you talked about the merged sound of the two guitars in your last lesson. Were they going thru the same amp perhaps?
Really good to have you here on Sonic Junction.
Thanks! I don't know about the amp situation at Cobra, other than that Otis' amp was a Danelectro Challenger currently owned by a friend of mine in Chicago. It's possible that Ike Turner was playing through that amp or another like it, but one of the things most people don't talk about when it comes to gear is that a lot of amps sound basically similar.
The crazy whammy bar playing on "Double Trouble" is Ike, and Otis is playing with the finger vibrato. "All Your Love" has a pretty clear rhythm/lead division of duties, but a bunch of those tunes have two lead guitars, harmonica, and saxophone all winding their way through the sonic stew. It's a cool sound. In general, Ike's playing is more jagged and raw.
Like Bruce I've been catching up on SJ lessons from before I joined (got here for the end of the 'Gypsy Woman' series). Spent a great evening following this series.
I have the original Larry Davis record, but like most my generation, I know the tune from Stevie Ray Vaughan. I rarely listen to him these days because there are so many bad SRV impersonists at the jams here in the UK. But I saw someone post a video of him doing this and the emotion/intensity was just astounding.
Anyway, here's my cut. Not happy with the tone (but I am recording with a two year old asleep in the next room, so this is as much as I dare crank it!) I loved how you talked about the sloppy (but not sloppy) timing; the Buddy Guy style. That's the stuff I love in blues; the tension and release - stretching it to the limit without overkill. I think I've always had that fairly intiutively (i guess if you love it it'll be in you somewhere right?) but I know I need to tighten my technique way more to pull it off.
Thanks for a backlog of awesome lessons. Hope the shoulders getting better!
Nice work Bruce - I'm doing exactly the same as you; catching up on lessons from before my time on SJ. Looks like we even choose the same ones (just been through 'Flying Home' last week)
For sure! I have to admit for me speed has been something to hide inaccuracy behind! Hope I've grown out of that now - especially since SJ came on the scene. Thanks gents!
'Speed is a by product of accuracy' - what a great point! Thanks Paul
Welcome back Paul. I really enjoyed your last lesson, looking forward to what you have for us this time.
Get well soon Duke!
Get well soon Duke! Thanks for taking the time to share this history - beautiful stuff! Some of those names I've known and loved for years (especially Eddie Lang), others I'd never heard of before. There's nothing of Mary Osbornes on Amazon - going to have to hunt her down (thanks Bruce for sharing such great footage).
Where (if anywhere) does Django fit in this family tree for you?