Rudi

The most serious name I can think of is serious

I have a sense of deja vu ! (see post #14)

hi Kel unfair jibe. Some of us think of the words while we're whistling.

Have just learned 'Ghost Town' by the Specials. Its all jazz chords, but I love it every bit as much as simple modal stuff. I use too many chords in most of my own stuff, but at least it keeps me occupied. The maxim I try to keep to is KISS, so I suppose I must be stupid.

Cream Puff War - Widespread Panic

http://forums.songstuff.com/topic/41198-group-re-launch/#entry270578 I couldnt reply as I am no longer a member, so here is an open message to you guys I worked with many moons ago. Nice to read you guys again. Me AWOL? I had no intention of quitting the group, but ran out of puff. Like when you run and your legs give way. You didn’t allow your legs to collapse. They did it without permission. What I can say is that (personally) I have to work fast. I was unable to work fast enough in most of the colab. It was, at the time, my avowed intention to write a lyric in 10 minutes. (and this is a 2 minute ho-down) Well I didnt get far Sitting in a jam jar Sitting in a jam jar looking at the stars I looked for the song but it took so long The jars still here but the jams all gone No I didnt get far sitting in the jam jar Sitting in my jam jar looking to the stars

I concur. I still try to force it through to conclusion sometimes, and it never works out when doing that. So thats for the reminder & the consolidation.

nice observations Gary and really well written. I sometimes repeat phrases (not always lyrics) to see how they work with odd stress points. I didnt even realise it was a musical process until a couple of weeks ago. The common ones work best of course, but I like different effects achieved with alternatives. Such as in your Dylan example; 'IT aint me babe' will suggest the lyrical premis needs a closer look.

across the great divide - The Band

Joe, It would be nice to introduce yourself first. http://forums.songstuff.com/forum/4-introduce-yourself/ Because you want anyone to mistake your request as just under-the-radar self promotion now would you?

Not without checking. Where have you searched?

Mahesh, Last time I checked there was only one current stockist here in uk too. Price was quadrupled there. Not even Thomann have any now either.

After 30 years that LP must feel like a part of you.

I thought they did more than that. I was speaking of the neck width rather than the thickness. I too prefer the thinner necks, but now that I dont grip the neck it hardly matters.

Me too. That wasnt what I meant though. Sorry for the confusion Mike. I meant initiated. When a youngster was first taken out on a hunt, such as a fox hunt. After the kill, they would smear some blood on his face. Pretty barbaric practice.

Ok. The Deuce is blooded. The wedding gig was good and the Deuce was used all the way through without a hitch. The tailor made patches on the Line 6 Pod 400 will need a bit of tweaking. The volume of the 2 chord work ones need raising about 15%. The lead tone sounded more clean than expected and somewhat more twangy too. More so than on the tryout at the rehearsal room mentioned earlier (no I didnt alter anything meanwhile after all). Its as if it has lost a little compression. I went in this morning to sort this out on the Pod. Instead I discovered a combination of Amp & EQ settings that produced a superb jazz tone. It is surprisingly authentic. The weird thing is that the amp selected is categorised as a Metal one. I may work on the lead tone again tomorrow.

I vaugely recall registering Blown Out somewhere, but another one popped up later. There may be a whole directory of Blown Outs for all I know. Its almost impossible to find a name that hasnt been used nowadays.

Typical ! Bloody Detroit I'm sticking to Toyota from here on

I hadnt thought about it that way. Thanks for pointing this out my friend.

This has been written as an expression of regret. Not a challenge nor an attack. I watched another youtube video of willseasyguitar recently. I have learned a fair amount from Will (if that is really his name) and been entertained sometimes too. I can say the same for Scott Grove. Both these fellows like to broadcast on a broad variety of topics, though they are best known as guitar buffs. I’m now used to hearing ‘hey’ as a greeting. I also realise that ‘How’s it going?’ is not a question; rhetorical or otherwise. It does sadden me a little when both Will and Scott use the word ‘retarded’ as a means of demeaning someone they disapprove of. Some of the nicest, warmest and most genuine people I have ever met are mentally retarded. Will has apparently received criticism for this. He answers this by saying he is exercising free speech. The last Will diatribe I saw had him label as a someone ‘a dumb f**king sh*t’ for holding an opinion contrary to himself. I understand the frustration of dealing with people that don’t listen or speak rashly, but all he needs to say is that person is mistaken or wrong. However, the ‘dumb f**king sh*t’ accusation goes further than this. It is an assertion of dominance by the speaker. It is a human equivalent of the assertive posturing demonstrated by the higher social animals. Will is a clever guy, but I doubt this has occurred to him. I had believed that only those with insecurity issues were overtly aggressive in this way, but I was wrong. Not wholly wrong, but there are other factors to consider. 1/ The culture of over-exaggeration. When people abandon the implicit method of discourse, such as listening attentively when spoken to, and being listened to attentively when speaking. When people talk over each other they are not interested in listening, only speaking. Then they raise voices to gain advantage. This engenders frustration and then aggression which ultimately leads to personal abuse. To speak and not to listen is be literally dictatorial. This is still basic attention grabbing for the purpose of elevating yourself in the pecking order. They then get angry because they just receive the same treatment back. So it hasn’t worked. The problem is that it is never going to work. Personal abuse is provocative, but this runs out of control when the ‘other side of the river’ syndrome kicks in. 2/ The ‘other side of the river’ syndrome means: I will verbally abuse you because I feel safe on this side of the river. Without the river (or the internet) you would seldom dare show such disrespect. being more vulnerable. This certainly does involve insecurity in some measure. We are all living in societies where most children (and often ourselves) have not been socialised properly. To habitually speak to people this way directly in the more deprived would result in violence within days if not hours; probably in the US and certainly in the UK. This could then result in a visit to prison, hospital or both. Another frustrating thing Will & Scott have in common is repetition. I suspect this is also part of the same issue brought about by feeling that continual emphasis is needed to make a point. Well it certainly is if you are always dealing with people trying to talk over you. But this isn’t appropriate on a youtube video. You already have the platform and no-one is arguing. Some of these videos are 30 or 40 minutes long. The actual content without repetition could be cut to a quarter of that time usually. Sometimes Scott Grove will say ‘ok I’m done. I’m going now…’ but you can see there is still 10 minutes remaining on the time bar. This repetition seems to have become habitual for them. It’s not all gloom and doom though. There are pleasant and respectful folk out there too. It’s a shame because Will & Scott are by no means bad people You can tell that they are feeling pressured and frustrated so much of the time. Despite the abrasive manner I do like them both. I’m still watching so far anyway.

It doesnt matter. I still have all of my old LPs and could cite a thousand examples. Whatever will fit onto a side is what goes. Some albums had 1 big track on one side and perhaps 3 on the other. The Beatles tried to fit 6 on each side, but that was long before other artists became ambitious in scope and this sometimes manifested itself in very long tracks.

Are these guys all obese?

Its less intense than what you describe. Its probably what you will hear in a store or from a garage radio hanging on a piece of string.

Zombie Jamboree - Leftover Salmon (audience recording)

My guitars are mostly leisure instruments, but some are grafters. The Soloist is the main grafter; a real workhorse. I’ve had it 18 years & it feels like a part of me. I’m trying to spec up the Deuce to become a grafter too (it’s cheap). It will never be anything like as fine as the Soloist but I just like it for some reason. The elderly Washburn G5V is a practice model. It has been played more than any other guitar, and it shows. Both The Soloist & the G5V have significant ruts worn into every fret through nearly 20 years of constant playing. Both these guitars have rosewood fingerboards. This is why I prefer ebony. My 40 year old Fylde has an ebony fingerboard with no sign of wear. When I used to play solo, I gigged the Fylde (acoustic) quite a bit too. I didn’t manage to sell the G5V, so decided to make a project of it. I’ve hacked the body down to a much smaller new shape. I may try to fret level it myself if I can get some files ground & modified for the task. The Elite has been gigged but I struggle getting a usable sound on stage. Its overwound active PUs are clean but muddy. By this I mean the signal is crystal clear (great for recordings) but very bass biased. Yes, it’s really for metal. On the plus side, it plays like a dream, and it’s got an ebony fingerboard! I am looking to sell the Jackson Elite. I will try e-bay with a £700 reserve. If it doesn’t make that I will treat it as another project and disrespect the design by removing the nasty Seymour Duncan PUs and replacing them with something sensible. Someone suggested just removing the active circuit, but I wouldn’t have a clue where to begin. Maybe Simon Jones would advise & do this for me? The PRS will also work for a living. I bought this at the Exeter shop I visited with Steve Perrett in February. I should not have bought it at all. I swore I would never buy another guitar with a trem. However, once I had played it, there was no way it wasn’t coming home with me. So I changed the .009 strings for .010s, made the truss rod adjustment and set about blocking up the trem cavity. It’s now good to blow. I have gigged the Yamaha Silent (classical) a couple of times and recorded with it (Papa & the Sky). It’s a weird guitar, but immensely practical. I kept it at Jan’s place so I could practice at weekends when I was there. Since Jan died last year, it has been brought home. It had broken a string at some point and I have not had the inclination to re-string it. It’s been 7 months now. Somebody said recently. If you haven't used it in 6 months, get rid of it. Hmmm... The Hofner J17 (jazz) and the Camps (classical) are strictly recreational. They are both a challenge to play. The J17 has high tension, and the Camps a high action. They are pampered lambs with nary a scratch on them.