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667714 Posts in 26833 Topics by 3890 Members - Latest Member: Hails1 April 12, 2021, 03:00:02 PM
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 on: Today at 02:01:14 PM 
Started by Tricycle Rider - Last post by smog police
Keep the faith and it'll be here soon enough. All the indications are that things are moving in the right direction - no doubt it will have been worth the wait when the time does come where we can sit back and enjoy it in its full splendour!

 on: Today at 01:34:46 PM 
Started by Greg Parry - Last post by UK_Surf
Personally, I would like the 'real life water sounds' Stephen Desper reportedly recorded in the field (or a stream near the field) for a Chamberlin sample suite for Cool Cool Water (and/or its variants), and then never use them!

Yep, BW was creating sample libraries in the 60s....

 on: Today at 09:23:43 AM 
Started by JK - Last post by Rocker
Slim Harpo "Lovell" ES-330

Gibson is proud to introduce the "Lovell" ES-330 hollow body guitar; a tribute to Slim Harpo and his wife Lovell, a creative tandem that developed a unique sound and produced chart-topping hits during the 50s and early 60s.

The new Gibson Slim Harpo “Lovell” ES-330 hollow body guitar is part tribute, part historical artifact that celebrates the influential, albeit short career of James H. Moore aka Slim Harpo. Slim was a working man’s blues man from Lobdell, Louisiana; holding down 9 to 5 gigs as a longshoreman, and iron scrap hauler in addition to his side hustle as an artist. His wife and collaborator; Lovell, for whom the guitar is named was a huge influence and contributor to Slim’s evolution as performer and song writer. Together they forged a creative partnership that yielded pop-crossover success in the late 50’s and 60s, an era that was less than kind to black artists.  Despite this, it didn’t take long for others to recognize and be inspired by Harpo’s talent and unique take on the Blues; a subgenre he unwittingly created appropriately called Louisiana Swamp Blues. Slim’s most popular tune “I’m a King Bee” achieved cross-over success at a time when that was far from the norm.  Other artists also achieved chart successes with their covers of “King Bee” including the Rolling Stones, The Grateful Dead, Lou Rawls, and Muddy Waters among others. While Slim’s time on the planet was short, his impact and influence are and will continue to inspire for generations to come.

The Slim Harpo "Lovell" ES-330 features 3-ply maple / poplar / maple top, back and sides with spruce bracing, a mahogany neck with rounded C profile, rosewood fretboard with small block inlays, ABR-1 bridge with Trapeze tailpiece, Vintage Deluxe tuners with white buttons, Dogear P-90 pickups with hand-wired controls and Orange Drop® capacitors, and has a custom "Lovell" logo on the back of the headstock to honor Slim Harpo's life partner, manager and the co-writer of many of his biggest hits, Lovell Moore.

 on: Today at 08:47:00 AM 
Started by TheLukeDiamond - Last post by Joshilyn Hoisington
It's around 30 voices.

 on: Today at 07:04:16 AM 
Started by gregcoffeymusic - Last post by Rocker
Thanks for the heads-up!
I hope Fred can say more about a potential release of his BW-produced Country album.

 on: Today at 06:56:20 AM 
Started by gregcoffeymusic - Last post by gregcoffeymusic
Hi Friends!

Tomorrow night we welcome back the incredible Fred Vail! We will be live at his recording studios in Nashville, TN!
PLUS: Top 5 Dennis/Carl Songs, Would You Rather, Call-In Trivia, and All Request!

Tuesday, 8pm EST! Right Here:

Hope you can join us!!

Greg and Matt

 on: Today at 06:09:46 AM 
Started by Joshilyn Hoisington - Last post by Rocker
That's probably the closest thing yet. Thanks, Wiggy!
The upper cutaway looks rounder on Carl's guitar though, doesn't it? But that may be just a different model.

 on: Yesterday at 11:54:00 PM 
Started by TheLukeDiamond - Last post by TheLukeDiamond
I'm new around here, and I've gotta say it's amazing finding my way into communities like this that have been around so long with so much valuable information about the things that I love.

On to the question, does anyone have a definitive answer as to how many voices are on Break Away? I'm trying to transcribe the vocals so I can record them, but I always have trouble figuring out if I'm hearing another vocal part or just hearing things. Thank you so much!

 on: Yesterday at 10:35:26 PM 
Started by Joshilyn Hoisington - Last post by Wiggy
It's not a straight copy though. Look at that thing:

Are those Humbuckers? The head and obviously the rear body are very different to a Tele.

The headstock looks exactly like my Westone Thunder 1-A (Japanese guitar made in the 80s) which has humbuckers, though all those models had the volume and tone knobs in a straight line.

I was browsing around to see if I could spot anything similar. The Prestige Series seems closest, though the colours don't match the model Carl is playing, though I can't easily tell whether the models from other years match. Their 1984 catalog shows this :



 on: Yesterday at 09:10:58 PM 
Started by KaylaWilliamsMusic - Last post by KaylaWilliamsMusic
That is a very cool and informative video! I'll be rambling a bit but a lot of thoughts happened as I was watching. I think the song Surf's Up is a perfect vehicle for breaking down something that sounds complex and multi-layered, because often when you break down a complex piece of music into segments, and elements, then almost compartmentalize all of those elements into individual parts, you can both decipher and analyze them on a much simpler level. Then the process becomes easier to understand. I do think the chords and chord progression of Surf's Up is pretty complex, maybe not taken as individual chords but rather how Brian loved to use his "slash chords" like Dm7/G to make a simple triad or chord structure *sound* more complex than it actually is. I also give chord progressions my own informal "guitar test"...where many of Brian's chords and chord voicings as heard on his deeper music like Surf's Up cannot be easily played using standard guitar chords. Yet on a piano keyboard, they lay out very neatly and are often a basic triad with a different bass note.

The way you went through the chord progression is alone worth a viewing for anyone interested in how Brian's chords created that ethereal texture everyone knows and loves in the song. As much as I love the later, more fully layered versions, I was always partial to the Inside Pop solo piano version and also the stripped down version on the '93 box set. The mark of a great song is when you can strip it down to the absolute basics of a single vocal and instrumental/chordal accompaniment and the song *still* has that compelling sound, texture, and overall impact. The layering which comes later only adds more goodness like the icing on a fantastic cake.

I think a similar effect in how something complex can be broken down and understood more easily happens with the music of Steely Dan. Just like you describe with Surf's Up, some of those Steely Dan songs and mysterious chord progressions sounded beyond my scope of understanding when I first started listening. Then when you get more knowledge of how music theory and harmony works, you can break down some of the Dan's thicker sounding chord progressions and realize things like one guy is playing a simple F triad on top and another guy is playing a G note in the bass while some instrument in the middle is hitting an E...and then you see how the parts create the effect of a super-thick jazz chord when it really isn't as complex as it sounds. The parts are individually simple, but taken as a whole and combined with everything else, the ensemble of notes creates that complexity.

I think that's the genius of Brian, one element of many. It's that ability to make the complex simple, and vice versa, so the building blocks are more simple musical components which sound amazingly complex and challenging when they're combined skillfully as Brian did in his best music.

I also really like the advice you gave about how to hear music on a deeper level, in terms of figuring out songs like Surf's Up and peeling away the layers. For my studies the course was called "Ear Training" and you had to either complete or test out of so many levels in order to graduate. We did the same things, similar exercises with transcriptions, identifying intervals, hearing chord progressions, clapping and notating rhythms, sight-singing melodies in solfege, etc. What seemed like sometimes pointless drills to me at age 18 or 19 were actually some of the best training my ears could have received, and I use it on a daily basis for what I do. I'd add to your advice that anyone so inclined should seek out any kind of ear training or any course similar to the aural skills program you mentioned, because it really, really does help any musician in terms of learning how to critically listen and how to translate music. I'd also add seeking out some music theory courses: In my day, it was almost all classically-based and taken from the Bach rulebook, both counterpoint and theory. But I did have some later courses where we began looking at popular music in these terms, and breaking down how and why a song used a specific chord or voicing and how it all tied in - And that's when it became more relatable to me. I still smile every time I hear that Picardy third at the end of Happy Together. I'd also add the advice that there is literally so much available online in 2021 for anyone interested to seek out, and any musician will benefit from even a basic understanding of these concepts so when they hear a chord like the Dm7/G in Surf's Up, they know what it is and how it got there to create that sound.

Just wanted to say thanks for another great video on Surf's Up, and for offering some very useful advice to musicians out there who are interested in how and why a massive song like Surf's Up sounds the way it does in terms of chord construction and the underlying theory behind it. Great stuff!

I love your whole commentary here! You clearly know your theory!

I must've picked up my writing style from learning and absorbing Brian's style because my entire life is slash chords  LOL but yes you've got it, on it's own so many parts are actually quite simple but put together definitely complex. And I don't play much guitar but I understand that these bizarre piano voicings don't always translate easily on the guitar!

I totally agree, the solo piano version is just so beautiful and puts a gentle spin on such a masterpiece.

Steely Dan is such a great comparison, boy they also did some crazy things! I watch Donald Fagen once talk about "Peg" and how it was based on a major take of the 12 bar blues and my mind was blown! They were the kings of complexity truly, a lot of jazz influence in their writing.

Ear training is something I still do today for fun, you can never stop learning and strengthening your ears/instrument I think. Definitely agree, there are lots of apps now for ear training which are so easily accessible. I do find lots of people listen to music a bit more passively which is why I always suggest getting a pair of head phones out and really listening to the music and trying to hear different instrumentation, definitely was something I did growing up without realizing how helpful it would be later on! I really appreciate your insights here and thanks so much for the kind words, hope you'll keep listening Smiley

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