tag:blogger.com,1999:blog-4289002260492336592024-03-12T23:50:51.673-04:00Icarus P. AnybodyEthan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.comBlogger75125tag:blogger.com,1999:blog-428900226049233659.post-8747816335499140942019-01-19T17:53:00.001-05:002019-01-19T17:53:11.827-05:00We've Moved!<div class="separator" style="clear: both; text-align: center;">
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Thank you for reading my blog! As of January, 2019 I've moved this blog onto my own site. All of my previous posts and all new posts can be found at:<br />
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<a href="http://www.ethanlewis.org/icarus">www.ethanlewis.org/icarus</a></div>
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I hope to see you there!</div>
Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-92144292475610443292018-12-01T13:48:00.000-05:002018-12-01T13:48:25.096-05:00Richard Thompson Electric Trio-The Best Rock Concert You'll See This Year<div class="" style="clear: both; text-align: left;">
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On Wednesday, November 29th I drove out to Charlottesville, Virginia's delightfully charming Jefferson Theatre to see the first concert of the most recent leg of the <a href="http://www.richardthompson-music.com/">Richard Thompson Electric Trio's </a>U.S. tour. It was the first time I'd seen Thompson in person since 1999, and my amazing wife had bought me a front row "VIP" ticket guaranteeing that I would have an unobstructed view of the proceedings (as well as a cool autographed concert poster, a tote bag, and a laminated pass). <b>It's not an exaggeration when I say that this concert was the best rock concert I've ever attended</b>, and I strongly urge you to try to catch the show if it comes through your town.</div>
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I've been <i>aware</i> of RT since the early '80's, (usually in the context of comparisons with Mark Knopfler, or discussions of his album "<a href="https://en.wikipedia.org/wiki/Shoot_Out_the_Lights">Shoot Out The Lights</a>", considered by many to be the best breakup album of all time) but only became a fan of his in 1991 with the release of <i><a href="https://en.wikipedia.org/wiki/Rumor_and_Sigh">Rumor and Sigh</a></i>. I was in my final year at <a href="http://www.hampshire.edu/">Hampshire College</a> that year, and remember songs from the album being played on my favorite radio station, WRSI all the time. When I went to <a href="https://www.cla.purdue.edu/american-studies/">Purdue University for graduate school</a> a friend of mine was a huge Thompson fan (I remember listening to live tracks with him, and was super impressed when he did an RT song live at a local pizza parlor in West Lafayette, Indiana). In fact, this review is for you, <a href="https://www.hanover.edu/about/profiles?e=bettler">Bill Bettler</a>!</div>
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Since those early days I have acquired virtually every recording Thompson has issued and while I do not ever like to participate in "who's your favorite musician?/what's your favorite song?" discussions (music isn't a competition) there is no doubt that if I could only ever listen to one musician's output for the rest of my life RT would be on the short list of people I would consider--his versatility as a world class guitarist (electric and acoustic), a magnificent songwriter with mastery of humor, sorrow and traditional forms of songs (though often with modern topics) is nearly unmatched and his 50+ years of recordings means I won't have a shortage of material to listen to.</div>
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At multiple points during the show <a href="https://en.wikipedia.org/wiki/Richard_Thompson_(musician)">Richard Thompson</a> mentioned the "50 years" topic; whether it was to point out how old he was, or that he "only had a few more weeks of relevance left for the 1968 songs" ("but then I can start playing the '69 batch!"). But it really is remarkable, first, how many significant musicians were born in 1949, and how few have continued to make relevant, exciting, <b>new</b> music on the here on the cusp of their 70th birthdays. A list of musicians born in 1949 who are still living contains (among others):</div>
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<li><a href="https://en.wikipedia.org/wiki/Adrian_Belew">Adrian Belew</a>--one of my all-time favorites, an endlessly inventive guitarist, talented songwriter and good singer. Belew is equally good at challenging soundscapes where his guitar mimics animal sounds and Beatles-esque pastiches ( a concept I learned about from Bettler back at Purdue). His output has slowed over the years, and is not what one would call "accessible". </li>
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<li><a href="https://en.wikipedia.org/wiki/Lindsey_Buckingham">Lindsay Buckingham</a>--recently fired from Fleetwood Mac, Buckingham has a new solo record out, and put out an album with Christine McVie last year. He still makes good music, but overwhelmingly his focus is on his "classic" output. </li>
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<li><a href="https://en.wikipedia.org/wiki/Billy_Joel">Billy Joel</a>--Joel still does regular sold out concerts at Madison Square Garden in New York, and tours occasionally, but has said that he does not expect to put out any more new music.</li>
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<li><a href="https://en.wikipedia.org/wiki/Mark_Knopfler">Mark Knopfler</a>--a Scots-English fingerstyle guitarist and songwriter is perhaps the closest to RT (comparisons to whom dogged him throughout Dire Straits' rise to fame in the '80s), though he has achieved much more fame and record sales. Knopfler continues to tour and puts out new albums on a regular basis (he'll be in Virginia around my birthday and I might try to go).</li>
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<li><a href="https://en.wikipedia.org/wiki/Nick_Lowe">Nick Lowe</a>--a talented songwriter and producer, he hasn't had a new record for quite some time.</li>
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<li><a href="https://en.wikipedia.org/wiki/Bonnie_Raitt">Bonnie Raitt</a>-- a great guitarist, singer and interpreter of songs (who has recorded more than one song by RT), Raitt's last album was quite good, but it's a couple years old now. </li>
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<li><a href="https://en.wikipedia.org/wiki/Lionel_Richie">Lionel Ritchie</a>-- a singer and songwriter of many classics, he hasn't put out anything new for many years. </li>
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<li><a href="https://en.wikipedia.org/wiki/Paul_Shaffer">Paul Shaffer</a>-- member of the Blues Brothers, Artie Fufkin in <i>This is Spinal Tap</i>, bandleader for David Letterman and the Rock and Roll Hall of Fame. Paul is an interpreter and sideman, not a truly creative artist.</li>
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<li><a href="https://en.wikipedia.org/wiki/Rick_Springfield">Rick Springfield</a>--a surprisingly prolific songwriter and energetic, talented performer with a great life's story (moving from Australia to California to become a rock star, who then became a soap opera star, only to return to music). He continues to record, and his latest album is quite good. </li>
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<li><a href="https://en.wikipedia.org/wiki/Bruce_Springsteen">Bruce Springsteen</a>--one of America's greatest songwriters, an unparalleled showman and bandleader now completing a year-long one-man show on Broadway. Rumors abound that he is ready to take the E Street Band back into the studio for something new, but I don't think that even his most devout fans can find more than a couple of songs in his output over the past 10-12 years that match what he wrote when he was younger. </li>
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<li><a href="https://en.wikipedia.org/wiki/Rick_Wakeman">Rick Wakeman</a>-- still traveling the world playing his music with Yes (or Anderson Rabin Wakeman). He's recorded scores of albums, but is known more for his capes than his songs, I think. </li>
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<li><a href="https://en.wikipedia.org/wiki/Hank_Williams_Jr.">Hank Williams Jr</a>.--the scion of legendary songwriter Hank Sr. still records and tours, but his retrograde politics hardly make him what one would call "universally popular"</li>
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Honestly, I think that of this list, Thompson holds his own with Springsteen and Knopfler, and at some level I applaud his hard work even more--it feels like he keeps writing and performing because he <i>has</i><b style="font-style: italic;"> </b>to, rather than out of choice, or to buy a new horse or recording studio, which perhaps help him maintain his high standards. Regardless, I think it is remarkable that his latest album, <i><a href="https://open.spotify.com/album/0ms1xVmOv6dF2pXr9PkguJ">13 Rivers</a></i> is one of the best he's made; to still be so creative at such a high level so long into a career is definitely uncommon and should be appreciated.<br />
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The Richard Thompson Electric Trio consists of RT on guitar and lead vocals, Taras Prodaniuk on bass and harmony vocals, Michael Jerome on drums and harmony vocals, and Bobby Eichorn on rhythm guitar. That's right, it is a "Trio and a Half"; Eichorn is Thompson's longtime road manager and guitar tech who chips in on a few songs. For the gearheads out there, Thompson played the coral pink Strat that <a href="http://richardthompson-musiccom.siteprotect.net/gearandtunings.asp">Eichorn assembled</a> for him, a Telecaster shaped electric 12 string and his <a href="http://www.lowdenguitars.com/guitar-range-thompson">Lowden acoustic</a>, while Prodaniuk played a couple of Fender Precision basses. Eichorn played the sonic blue Strat he built for RT or Thompson's Lowden. For what it's worth, the sound of Thompson's Strat through his Divided by 13 amplifier (nearly always on the bridge/middle position, with occasional forays to bridge or neck) was the quintessential Strat tone that people buy those guitars for. Very inspirational!<br />
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The band has been together for quite a long time--well over a decade, and the on-stage chemistry and communication was something to see. I mentioned above that this was the best rock concert I've been to, and a big reason for that was how purely rock it was--just guitar, bass and drums (I've been to a lot of great concerts, but often these bands have horns, or keyboards, or multiple guitarists to flesh out the sound). This band was so tight! Prodaniuk's basslines were simple, but endlessly varied and always mellow and soulful; that said, when needed he took over and drove the band with a solid rock sound. Michael Jerome's drumming was outstanding--he seemed to have so much fun, and was locked in to the other two with seemingly telepathic connections. He also provided very nice background vocals.<br />
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Of course, the star is Thompson, who stood in black jeans, a black <a href="http://www.wnrn.org/">WNRN</a> (the local independent radio station) shirt covered by a denim vest and his trademark black beret striking a classic, guitar-god power stance at the microphone, singing powerful vocals and delivering blistering solo after blistering solo that showed no end of creativity and expressiveness. I've been playing guitar seriously for over 32 years and if I play for another 32 I doubt I'll ever be able to do half of what RT did on Wednesday night. I've read musicians talking about how they hope once or twice per show to "get in the zone" where they become one with their instrument--it seemed like Richard Thompson got there a dozen times and it was amazing. Several times I just found myself laughing out loud in joy and amazement at what his fingers were doing on his guitar.<br />
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The show lasted for just about two hours (following a short opening solo set from folk singer <a href="http://www.joanshelley.net/">Joan Shelley</a>. The setlist was a mix of new songs and classics; it was heavily weighted to tunes from records he's put out in the 21st century and it shows how devoted his fans are that these songs were received as enthusiastically as classics from the '60s and '70s. Also impressive was how the songs were stretched out--I noted the start and stop times for every one, and most of the songs were much longer than the album versions to make room for guitar solos, bass solos, and other improvisation.<br />
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Here's the set list--all songs were full-band, with Thompson on Stratocaster unless otherwise noted; an asterisk indicates a song from the latest album:<br />
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<th class="tg-7btt">New?</th>
<th class="tg-7btt">Title</th>
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<th class="tg-7btt">Time</th>
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<td class="tg-baqh">*</td>
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Bones of Gilead</div>
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<td class="tg-baqh"></td>
<td class="tg-baqh">4 minutes</td>
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<td class="tg-baqh"><div style="text-align: left;">
*</div>
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<td class="tg-baqh"><div style="text-align: center;">
Her Love Was Meant For Me</div>
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<td class="tg-baqh"></td>
<td class="tg-baqh">5 minutes</td>
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<td class="tg-baqh"></td>
<td class="tg-baqh"><div style="text-align: center;">
Take Care The Road You Choose</div>
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7 minutes</div>
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<td class="tg-c3ow"><div style="text-align: center;">
Tale in Hard Time</div>
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<td class="tg-c3ow"></td>
<td class="tg-c3ow">4 minutes</td>
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<td class="tg-c3ow"></td>
<td class="tg-c3ow"><div style="text-align: center;">
Guitar Heroes</div>
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<td class="tg-c3ow">7 minutes</td>
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*</div>
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The Storm Won't Come</div>
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<td class="tg-c3ow"></td>
<td class="tg-c3ow">7 minutes</td>
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<td class="tg-c3ow"><div style="text-align: center;">
They Tore The Hippodrome Down</div>
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<td class="tg-c3ow">acoustic</td>
<td class="tg-c3ow">6 minutes</td>
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<td class="tg-c3ow"><div style="text-align: center;">
Drown My Tears And Move On</div>
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<td class="tg-c3ow">acoustic</td>
<td class="tg-c3ow">4 minutes</td>
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<td class="tg-c3ow"></td>
<td class="tg-c3ow"><div style="text-align: center;">
1952 Vincent Black Lightning</div>
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<td class="tg-c3ow">solo acoustic </td>
<td class="tg-c3ow">5 minutes</td>
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<td class="tg-baqh">*</td>
<td class="tg-baqh"><div style="text-align: center;">
The Rattle Within</div>
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<td class="tg-baqh"></td>
<td class="tg-baqh">4 minutes</td>
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<td class="tg-baqh"><div style="text-align: center;">
Can't Win</div>
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<td class="tg-baqh">9 minutes</td>
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<td class="tg-baqh"></td>
<td class="tg-baqh"><div style="text-align: center;">
Meet on the Ledge</div>
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<td class="tg-baqh">3 minutes</td>
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<td class="tg-baqh"></td>
<td class="tg-baqh"><div style="text-align: center;">
Never Give It Up</div>
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<td class="tg-baqh"></td>
<td class="tg-baqh">3 minutes</td>
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<td class="tg-baqh"></td>
<td class="tg-baqh"><div style="text-align: center;">
Wall of Death</div>
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<td class="tg-baqh">electric 12</td>
<td class="tg-baqh">3 minutes</td>
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<td class="tg-baqh"></td>
<td class="tg-baqh"><div style="text-align: center;">
Put it There, Pal</div>
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<td class="tg-baqh"></td>
<td class="tg-baqh">9 minutes</td>
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<td class="tg-baqh"></td>
<td class="tg-baqh"><div style="text-align: center;">
Tear Stained Letter</div>
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<td class="tg-baqh"></td>
<td class="tg-baqh">6 minutes</td>
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<td class="tg-baqh" colspan="4"><span style="font-weight: bold;">Encore</span></td>
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<td class="tg-baqh"><div style="text-align: center;">
Beeswing</div>
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<td class="tg-baqh">solo acoustic</td>
<td class="tg-baqh">6 minutes</td>
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<td class="tg-baqh" style="text-align: center;"></td>
<td class="tg-baqh"><div style="text-align: center;">
Dimming of the Day</div>
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<td class="tg-baqh">solo acoustic</td>
<td class="tg-baqh">3 minutes</td>
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<td class="tg-baqh">• </td>
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Trying</div>
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<td class="tg-baqh"></td>
<td class="tg-baqh">5 minutes</td>
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<td class="tg-c3ow"></td>
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Take a Heart (cover of 60's tune by the Sorrows)</div>
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<td class="tg-c3ow">4 minutes</td>
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Richard Thompson shows are known for, among other things, fans shouting out requests and places where he encourages them to sing along. I usually don't like either of these things, and Thompson was caustic in response to some of the shouts from the audience; when a woman repeatedly screamed "I love you!", he sneered "what do you know of love?" (but then collapsed in giggles), and when a fan called out for the song "Calvary Cross", RT said, "well, maybe if we have time. But I'd have to teach it to the band first." That seemed to put a stop to that aspect of the show. But I have to say, when he encouraged us to sing along to "Meet on the Ledge", I couldn't help myself and sang like I do when I'm driving alone in the car--loud, uninhibited, and desperately flat!<br />
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In case you are new to Richard Thompson, I've attached a playlist of all of the songs he played on Wednesday for you to check out. And seriously, if the Richard Thompson Electric Trio is in your town (or 70 miles away, like they were for me), do yourself a favor and go check them out. I don't think you will be disappointed in the least. </div>
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<iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/user/1211830735/playlist/3rOBu9QfP0JzQHS8Qh2BMU" width="300"></iframe>Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-39614682639264316172018-11-17T18:21:00.001-05:002018-11-17T18:21:30.040-05:00My Back Pages: Thirty Years Ago in Guitar Player (October, November, December 1988)<br />
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<span style="font-family: "verdana" , sans-serif;"><span style="text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Welcome back to </span></span><span style="text-align: justify;"><a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html" style="text-align: justify;">"30 Years Ago"</a><span style="text-align: justify;">, where I take a close look at the issue of </span><i style="text-align: justify;">Guitar Player</i><span style="text-align: justify;"> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I learned from re-reading it so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue. </span><a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html" style="text-align: justify;">Click here to see all of the previous posts</a><span style="text-align: justify;">!</span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;">October, November and December 1988 were very busy times in my life, and guitar wise, they were packed with exciting developments. I made friends with more guitar players than I'd ever known before, all of whom exposed me to music I'd never heard, and I even joined my first band! We pretended to be a German heavy metal band named Bräïnhämmër, with the Led Zeppelin biography <i>Hammer of the Gods</i> and the movie <i>This is Spinäl Täp</i> as our foundational texts. Unfortunately the group never performed live, but I was so excited to play rhythm guitar in a band of a bunch of 4th year students (one of whom was a music major, and all of whom were really cool). I was also busily adjusting to life on my own and to a challenging college curriculum, so my hands were full without having lots of time to read GP.</span><br />
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<span style="font-family: "verdana" , sans-serif;">While I'm sure that I read the <i>Guitar Player</i> magazines as soon as they arrived in the mail (from my parents, as the issues were still sent to my home in Pennsylvania), the issues aren't very memorable, and re-reading them now shows me that they were rather odd issues that don't stand up very well. </span></div>
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<a href="https://3.bp.blogspot.com/-lDRSnssXPB4/W_CaTqhWSRI/AAAAAAAACTg/juyzP17pmr4clqtZb6gB_ntJs6TxGC8IgCLcBGAs/s1600/Oct88%2Bcover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="320" src="https://3.bp.blogspot.com/-lDRSnssXPB4/W_CaTqhWSRI/AAAAAAAACTg/juyzP17pmr4clqtZb6gB_ntJs6TxGC8IgCLcBGAs/s320/Oct88%2Bcover.jpg" width="244" /></a><span style="font-family: "verdana" , sans-serif;">The October issue had a NAMM report and an interesting article about Vernon Reid (whose band, Living Colour was riding high on the hit song "Cult of Personality"), but nearly every other article was about bassists. Great bassists, mind you, but still. Rereading the issue didn't really give me many important insights. One of my new friends was an aspiring metal guitarist who basically spent 6-8 hours per day playing scales and arpeggios in his room (he built up great dexterity, but had little musicality, and never played in front of an audience). I remember that he used to heckle me about "Burnin' Vernon" and complain about his "sloppy, sloppy" technique. Whatever--at least Vernon Reid is an actual musician who uses his gifts to communicate with the world. </span><br />
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<span style="font-family: "verdana" , sans-serif;">The November issue had LOTS of information about amplifiers. At the time, this would have been a great tutorial, but nothing in the magazine can't be learned now from a Google search (or even Bing) and even the "Marshall Factory Tour" segment's black and white pictures pale in comparison to the many factory tour videos available nowadays. I actually revisited this issue back in 2013 when I bought a vintage 1987 Marshall amp--it was cool to see the factory where it was made! But except as a historical record, it doesn't really stand up; all of the "new" amplifiers they discuss are at best "vintage" now, and more likely, undesirable and unsellable on Reverb.</span><br />
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<a href="https://4.bp.blogspot.com/-I13ABizE3_U/W_CerQopS_I/AAAAAAAACTw/Qg-fmLUt13EVAre_W9hPW3yC18DTX3sZQCLcBGAs/s1600/s-l1600.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="919" data-original-width="700" height="320" src="https://4.bp.blogspot.com/-I13ABizE3_U/W_CerQopS_I/AAAAAAAACTw/Qg-fmLUt13EVAre_W9hPW3yC18DTX3sZQCLcBGAs/s320/s-l1600.jpg" width="241" /></a><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">The December issue album had an article about guitar in the USSR, which makes for an interesting historical artifact, I suppose, and an article about Foley, the lead bass player in Miles Davis</span><span style="font-family: "verdana" , sans-serif;">' band. Foley was badass, and in many ways took ideas that Miles had going back to his abortive vision of playing with Hendrix and updated them. There was also a very good article about Motown, which is the first place I learned about James Jamerson. In retrospect, it is CRAZY how much space the magazine spent on bass players at the end of 1988! But otherwise the issue itself was really skinny and seriously boring. I wonder if the company that published the magazine was going through a rough patch at the time?</span></span><br />
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<span style="font-family: "verdana" , sans-serif;">It's interesting--I eventually gave up my Guitar Player subscription in 2007 after YEARS of complaining about how boring and shallow the magazine had become. But looking back, the magazine DEFINITELY had a rough period at the end of 1988. I'm glad I was too busy then to notice, and that I kept my subscription alive, because I definitely learned a lot from the magazine in the years to come. Anyway, I'll be back in January with the first issue of 1989 (also <b>much</b> thinner than issues from the previous two years), featuring the annual Reader's Poll results, a nice article about Les Paul, and a thought-provoking article by Joe Satriani. I'll also have a playlist for your listening pleasure. Until then, keep on picking!</span><br />
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-1002834797914841172018-10-08T15:06:00.000-04:002018-10-08T16:05:22.151-04:00My Back Pages: Thirty Years Ago in Guitar Player (September 1988)<a href="https://1.bp.blogspot.com/-xHTwn_WK0Is/WLbLimjj9eI/AAAAAAAABsw/w24YI4v5CVoKsEAAjuu8jvcuyO28K-QZQCPcBGAYYCw/s1600/GP303.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><span style="font-family: "verdana" , sans-serif;"></span></a><br />
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<span style="text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Welcome back to </span></span><span style="text-align: justify;"><a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html" style="text-align: justify;">"30 Years Ago"</a><span style="text-align: justify;">, where I take a close look at the issue of </span><i style="text-align: justify;">Guitar Player</i><span style="text-align: justify;"> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I learned from re-reading it so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue. </span><a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html" style="text-align: justify;">Click here to see all of the previous posts</a><span style="text-align: justify;">!</span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;">September 1988 was the most consequential month of my life: I moved away from home to attend Hampshire College, where I met my future wife and (importantly for this blog) tons of guitar players who expanded my musical horizons and opportunities.</span></div>
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<span style="font-family: "verdana" , sans-serif;">The September, 1988 Guitar Player had a lot of content that was focused on fusion, jazz-blues and other advanced topics. Besides good stories that introduced me to Robben Ford and Jeff Healey and an equally good one about NYC studio cat Hiram Bullock (who I had often seen on the David Letterman show) the issue had part three of Howard Morgen's advanced chord harmony lessons, an article about psychoacoustics and how we hear what we hear, and a very interesting article about tendinitis and a nascent movement to train therapists to treat musicians with repetitive-stress injuries. </span><br />
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<a href="https://3.bp.blogspot.com/-Q93Bi07JM1k/W7twxkK6LPI/AAAAAAAACRE/E6ymGObii6A5UKYO7nFr_mP5Au0DyNFFwCLcBGAs/s1600/Healey.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="492" data-original-width="636" height="244" src="https://3.bp.blogspot.com/-Q93Bi07JM1k/W7twxkK6LPI/AAAAAAAACRE/E6ymGObii6A5UKYO7nFr_mP5Au0DyNFFwCLcBGAs/s320/Healey.jpg" width="320" /></span></a><span style="font-family: "verdana" , sans-serif;">I can't remember if I was already aware of Jeff Healey before reading this issue, but I'm sure that Jas Obrecht's short feature "Jeff Healey-Canada's Guitar Wizard" definitely made me a huge fan of the blind, lap-playing blues rock titan. Obrecht described his playing in vivid terms:</span><br />
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<span style="font-family: "verdana" , sans-serif;">Watching Jeff Healey climax a concert with his searing "See The Light" is an experience few will ever forget. After sitting through most of the set with his guitar held flat on his lap, the 22-year-old leaps to his feat, cranks up the volume knob on his Marshall amp, and launches into a blistering blues-rock solo. Prowling the stage, he frets with his left hand <i>over</i> the fingerboard, using his thumb and index finger to create the fastest licks and most wicked vibrato this side of Jimi Hendrix and Stevie Ray Vaughan. He's unerringly accurate, even as he picks with his teeth or plays with his Squier Strat swung upside-down or held behind his head. The song concludes with a resplendent display of feedback as he lays his axe upon the ground and pumps the whammy with his foot. The frenzied roar of the crowd threatens to collapse the hall as Jeff reaches for his white cane and taps his way backstage.</span></blockquote>
<span style="font-family: "verdana" , sans-serif;">Even though the article is only 2/3 of a page, Obrecht discusses Healey's band, his sudden rise to fame (thanks to the movie <i>Roadhouse, </i>the script for which called especially for Healey), his amazing collection of early jazz records ("I have about 10,000 78 RPM records") and, of course, his blindness ("I was blind at age one, and I got a guitar when I was three") It also goes into the details of his unique style:</span><br />
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<span style="font-family: "verdana" , sans-serif;"> "I tuned the guitar to a chord and just used a slide to alter chords. This was the only logical way I could think of at that point. Someone taught me a standard tuning a few years later. I had been comfortable with holding the guitar on my lap, so I decided to work out all my chords that way. I can use all five fingers on my left hand for different types of vibrato; usually the index is best for a wide vibrato. I do a lot of bending with my thumb, and it also comes in handy when you're in a sitting position and want to hit notes above and beyond where you could normally reach. I've tried playing guitar the normal way, but I just wasn't very comfortable.</span></blockquote>
<span style="font-family: "verdana" , sans-serif;">Cruelly, cancer didn't just take Healey's eyes, it killed him ten years ago. But he left a rich legacy of recordings that I never get tired of listening to</span><span style="font-family: "verdana" , sans-serif;">. </span><br />
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<a href="https://1.bp.blogspot.com/-coK582erk-Q/W7uSWOatVxI/AAAAAAAACRU/GzAjUAY7R4QaYfpSKfjris3MLBXKcT7QwCLcBGAs/s1600/HiramBullock.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1356" data-original-width="934" height="320" src="https://1.bp.blogspot.com/-coK582erk-Q/W7uSWOatVxI/AAAAAAAACRU/GzAjUAY7R4QaYfpSKfjris3MLBXKcT7QwCLcBGAs/s320/HiramBullock.jpg" width="217" /></a><span style="font-family: "verdana" , sans-serif;">I remember seeing Hiram Bullock play on the original David Letterman show (after Johnny Carson on NBC). The article about the then 33-year old Bullock, by Tad Lathrop, is another of the kind that regularly used to appear in <i>GP, </i>but so rarely does now: a profile of a working jazz/studio musician with a relatively low national profile. The article is an interview that touches on Bullock's time as a student of Pat Metheny's at the University of Miami, his views on "fusion" music and his studio work. Here are some excerpts:</span><br />
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<span style="font-family: "verdana" , sans-serif;">"I started out as a rock and roll, straight ahead, Eric Clapton, Allman Brothers, Steve Miller, blues-rock guitar player...When I was just a school band sax player, I listened to jazz--to John Coltrane and Cannonball Adderly and Gerry Mulligan. And then I saw--as did a lot of young guitarists around this period in the early '70s--the Mahavishnu Orchestra. That's what I now consider to be true fusion...."</span></blockquote>
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<span style="font-family: "verdana" , sans-serif;">" So I eventually went to the University of Miami and went into a bebop submersion period where I put the Fender Stratocaster away and only played a big, fat, Gibson L-5 with a wound G string, no effects, no bent notes--the whole bit. I studied with Pat Metheny....He had a very different sound in those days. He was a guy who had a real clear idea of what he wanted to do at an early age. To me, it was almost intimidating how mature he was. At the age of 18 he was just like he is now. He played that way, he thought that way. He was just real self-assured, knew the style, and kew that he would do well, at least as far as I could tell. He was supposed to be a student, but no one could teach him, so they just gave him tuition credit and made him a teacher."</span></blockquote>
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<span style="font-family: "verdana" , sans-serif;">"I'm not a big one for fusion, you know, so I may not be the most qualified to talk about it. To me, fusion always implied more power rock elements, like Chick Corea's electric bands. That's the closest thing I've heard to what I think of as fusion: odd time signatures and real powerful, loud, virtuosic playing. In my semantics, what I do is 'crossover' rather than fusion. It's sort of funky pop music without vocals. It's not necessarily designed to show off any virtuosity on the part of the players. Fusion was designed to show how well the people could play. Crossover music, and that includes Bob James, George Benson and Dave Sanborn, is much easier. It's just music without vocals."</span></blockquote>
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<span style="font-family: "verdana" , sans-serif;">"The burgeoning yuppie population has embraced what they call jazz, which includes a lot of so-called 'new age' music, as well as people like Metheny and Sanborn. It's sort of become a status symbol, that you are somehow hipper than your average radio listener. The audience is all 20-to 35-year olds, relatively successful young people who, at their worst, have a little bit of elitism and feel sort of superior to the average listener. As for the hard core fusion people who used to watch Mahavishnu, I see a bit of that audience at my shows. They turn out to be mostly young men who are into energy, and they just want to see you power out."</span></blockquote>
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<span style="font-family: "verdana" , sans-serif;">"I did some stuff on the <i>Gaucho</i> album. I'm a fan of Steely Dan, so I was thrilled and flattered that they called me. They are as meticulous as everyone says. I think we worked a week on one song. At one point we worked nine hours on one four-bar insert. You know, you just do it. They wanted perfection, and I could understand what they were doing....With Steely Dan and Donald Fagen's solo stuff, they have these sort of crystalline compositions, like little jewels. They don't want you to imprint your personality over their music, they want you to get inside their music and use your talent to bring their stuff to life."</span></blockquote>
<span style="font-family: "verdana" , sans-serif;">Good stuff! And I really like Bullock's description of playing with Steely Dan; I think it's true that the best musicians inhabited the Dan's music, rather than using it as a vehicle for individualistic expression. Know-it-all musos like me love to know who played what guitar solo, but there's a reason it's hard to tell sometimes, and I think Bullock hit the nail on the head. Sadly Hiram Bullock also succumbed to cancer ten years ago.</span><span style="font-family: "verdana" , sans-serif;"> </span><br />
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<span style="font-family: "verdana" , sans-serif;">I remember very clearly not appreciating the Robben Ford article, to the point where one of my new college friends, Devin, who was a year older and a hot blues guitarist kept urging me to listen to "Talk To Your Daughter" and I refused. That was obviously a mistake on my part. Looking back 30 years, that album was a launching point for the Robben Ford guitar fans now revere, but the article by Dan Forte "The Guitar Odyssey of Robben Ford" was understandably looking back at his surprisingly long and varied career up to that point, and so it was a little confusing to me. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Forte introduces the piece and the player by writing "Robben Ford may be the only musician to tour with ex-Beatle George Harrison and jazz trumpet legend Miles Davis. He is also probably the only guitarist to record with Barry Manilow and Kiss. He is without a doubt the only person to play with all four. Still, his appearance on the cover of <i>Guitar Player</i> is likely to be met with equal parts "Robben who?" and "It's about time."</span><br />
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<a href="https://4.bp.blogspot.com/-DHYFk1XKaws/W7uXpQ_B40I/AAAAAAAACRg/597o7PdGmLs9s0sWaS0bIb23m3zJQu1VACLcBGAs/s1600/RobbenFord.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1276" data-original-width="1143" height="320" src="https://4.bp.blogspot.com/-DHYFk1XKaws/W7uXpQ_B40I/AAAAAAAACRg/597o7PdGmLs9s0sWaS0bIb23m3zJQu1VACLcBGAs/s320/RobbenFord.jpg" width="285" /></a><span style="font-family: "verdana" , sans-serif;">Forte begins by summarizing the then 36-year old's career, beginning in a band with his father and brothers, then with Charlie Musselwhite, on to backing Jimmy Witherspoon, which led to work with L.A. Express as Joni Mitchell's touring band, which resulted in a chance to work in the studio and on the road with Harrison and then to membership in the Yellowjackets. Shortly before this article went to print, Ford had spent five months playing in Miles' band (where he had replaced Mike Stern). Wow. </span><br />
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<span style="font-family: "verdana" , sans-serif;">If you've watched any of his interviews or lesson videos, you know that Ford is an intelligent, expressive speaker with a lot to say. Rereading the article now shows that he has always had these capabilities. What really comes through (and is no surprise to anyone who has followed him since 1988) is that he seems to have realized that the blues is his base. I feel that way myself (though I am galaxies away from as talented as Robben Ford) so it's neat to read this and see how Ford has come to recognize where his musical heart is. Here are some excerpts from the interview:</span><br />
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<span style="font-family: "verdana" , sans-serif;"><i>To get to the point of doing this type of album, were you encouraged or influenced by the blues resurgence of the past few years? People such as Robert Cray, Stevie Ray Vaughan and the Fabulous Thunderbirds?</i></span></blockquote>
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<span style="font-family: "verdana" , sans-serif;">Not at all. I never listened to them; I never related to them. Making the record was just a matter of 'why try to please a record company at the expense of doing what you do best?'</span></blockquote>
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<i><span style="font-family: "verdana" , sans-serif;">Would you say that what you do best is play blues?</span></i></blockquote>
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<span style="font-family: "verdana" , sans-serif;">Yes. That's taken a while to come around to, because I am <i>such</i> a lover of great jazz music--jazz in the traditional sense. I've never really loved or been very influenced by the modern electric jazz-fusion thing. I've never really liked it that much. The Yellowjackets, I enjoyed playing with that <i>group</i>, and I always enjoyed working with Russell Ferrante. I've listened to Weather Report and I have a lot of respect for those guys, but I always go back to traditional music.</span></blockquote>
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<span style="font-family: "verdana" , sans-serif;"><i>You once stated that Weather Report was your favorite group, and in the Oct. '76 Pro's Reply you said that about the only group you'd consider touring with as a sideman was Steely Dan. That seems so odd in light of your return-to-roots album. [</i>note: Typical Dan Forte. It was 12 years ago, and Ford was in his mid 20's--people change Dan!<i>]</i></span></blockquote>
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<span style="font-family: "verdana" , sans-serif;">I'm a nut case [<i>laughs</i>]. Well I must say that I really did love Steely Dan for awhile, The <i>Royal Scam</i> record--I <i>loved</i> that. Weather Report was my favorite fusion band. They had <i>Heavy Weather</i> out, which is still their pinnacle record, I'd say. They really hit their peak there. Great songs, great melodies, great playing. Jaco was incredible and fresh and new.....I grew up loving the pop music of my day: the Beatles, the Stones, the Yardbirds, the Animals. The radio was <i>always</i> on. That is a big part of my makeup...</span></blockquote>
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<span style="font-family: "verdana" , sans-serif;"><i>Considering what a huge idol Miles Davis was, your stint with him was extremely brief.</i> </span></blockquote>
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<span style="font-family: "verdana" , sans-serif;"> ...When I joined him they sent me tapes of two concerts and one rehearsal of the band, and Miles wasn't on the rehearsal tape. Adam Holtzman, one of his keyboard players, lives in L.A. and he came over and gave me some music. Not clear charts, but this was all that was available. So basically I had five days to learn the material. I flew out to Washington, D.C. on the red-eye flight which arrived at 5:00 in the morning-to play that night with Miles, never having met him or rehearsed with his band. I met him a half-hour before I hit the stage. No rehearsal. The charts helped me a little bit, but I learned it much better just by keeping an open ear. When I met Miles, the only thing he asked me was [<i>imitates Miles' rasp</i>], "Robben, what you gonna wear onstage?" I thought I was going to throw up. I met him at the <i>gig</i> you know! All the band piled into the van to drive over to the gig from the hotel, and I was sick to my stomach with nervousness. Then somebody came up and said "Robben, Miles wants to see you." I was dying. And he was like in some other area of the hall, so it was like <i>This Is Spinal Tap</i> when the guys were looking for the stage, right? I was trying to find Miles Davis. I finally found him, and he was standing there with his shades covering half his face, blowing his little red trumpet, dressed so cool. I adore the man. He would call me up on the phone and go "Robben, you gotta listen to this tape." And he'd put a little tape deck up to the phone and play a guitar solo I'd taken on some gig. "Playing your ass off". He took to me, kind of. He'd drag me out to the front of the stage. He'd yell at everyone else in the band, and then say "Robben, get them chords".</span></blockquote>
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<span style="font-family: "verdana" , sans-serif;"><i>Who were your early blues guitar influences? And what had you been listening to before that?</i></span></blockquote>
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<span style="font-family: "verdana" , sans-serif;"> The guys who I would say I played their shit--not too much straight-out, but whom I got a definite influence from--are Albert Collins, Albert King, and BB King. And beyond that, there's a little bit of Clapton in there, but Mike Bloomfield is definitely the roots of my playing....Before that, the Beatles, the Rolling Stones. You know, the Animals were always my favorite band. I thought they had great songs, and I dug the shit out of Eric Burdon's singing. I thought he could <i>damn</i> sing the blues. Not the guitar at all. The guy [Hilton Valentine] could not play guitar, although I liked it.... </span></blockquote>
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<span style="font-family: "verdana" , sans-serif;"><i>Recently there was a cable TV special on Eric Clapton, and Pete Townshend said "You can't really play the blues unless you're in internal agony and frustration and desperation." Now, you grew up in a white, middle-class, suburban, almost rural environment, with a very supportive family, yet you obviously tapped into blues like very few people can. Do you see any truth at all in the old you've-got-to-suffer-to-play-the-blues attitude?</i></span></blockquote>
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<span style="font-family: "verdana" , sans-serif;">I really don't know how to answer that. I don't think that's what turned me on to it. I wasn't in pain, like I needed to play the blues. It's an interesting question--because there is definitely pain in the blues. But I don't know--maybe this will apply: I read a quote by Bob Dylan, which I think he got from Woody Guthrie, and he said, "Man, all these young kids, they think they've got to get <i>into</i> the blues to play the blues, you know, but it's the opposite. People play the blues to get <i>out </i>of the blues, to get out of their pain." So it's to have a good time; that's why you play the blues. Free yourself, express yourself. </span></blockquote>
<span style="font-family: "verdana" , sans-serif;">Lots of good stuff here, but I really like the last question and answer I included above; I sometimes wondered how a sheltered suburbanite like myself could feel the blues so heavily. I did have more than my share of "internal agony and frustration", but I also just loved everything about the blues. To this day, I can play lots of different styles, but the blues just feels like home to me. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Finally, this month's Spotlight featured three players who have made careers as musicians. You can check out <a href="http://stephenross.com/">Stephen Ross</a>, <a href="http://billberends.com/">Bill Berends</a>, and <a href="http://www.joeygoldstein.com/">Joey Goldstein </a>(who also played with Metheny in the early '70's) to see what they've been up to for the last three decades. But way to go, guys!</span></div>
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<span style="font-family: "verdana" , sans-serif;">That's it for this month. I'll be back to discuss the September issue, with cover artist Vernon Reid in a few weeks. Until then, keep on picking!</span></blockquote>
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<iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/user/1211830735/playlist/4iwa7A8mRxhTJFIeBVYyYQ" width="300"></iframe>Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-7248346972299982142018-09-01T14:19:00.003-04:002018-09-01T15:06:58.855-04:00My Back Pages: Thirty Years Ago in Guitar Player (August 1988)<a href="https://1.bp.blogspot.com/-xHTwn_WK0Is/WLbLimjj9eI/AAAAAAAABsw/w24YI4v5CVoKsEAAjuu8jvcuyO28K-QZQCPcBGAYYCw/s1600/GP303.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="957" data-original-width="1600" height="191" src="https://1.bp.blogspot.com/-xHTwn_WK0Is/WLbLimjj9eI/AAAAAAAABsw/w24YI4v5CVoKsEAAjuu8jvcuyO28K-QZQCPcBGAYYCw/s320/GP303.jpg" style="cursor: move;" width="320" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Welcome back to </span></span><span style="text-align: justify;"><a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html" style="text-align: justify;">"30 Years Ago"</a><span style="text-align: justify;">, where I take a close look at the issue of </span><i style="text-align: justify;">Guitar Player</i><span style="text-align: justify;"> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I learned from re-reading it so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue. </span><a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html" style="text-align: justify;">Click here to see all of the previous posts</a><span style="text-align: justify;">!</span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">August 1988 was the last month I spent at home before moving to college where my life changed forever. I still spent my time working at a <a href="https://en.wikipedia.org/wiki/Caldor">Caldor</a> store in Warminster, PA and nervously throwing up whenever I dwelled too much on the thought of moving away for the first time. Music wise I continued my lessons with Jim McCarthy, was still listening to a mix of jazz and rock on Philadelphia radio, and practicing with my Epiphone Sheraton. By then I also had an acoustic Fender Avalon (a parlor sized, cherry red guitar with a Strat style headstock) along with my Peavey T-15. That's right: even at this stage of my life I had too many guitars for someone with too little talent to justify!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The August, 1988 issue of <i>Guitar Player</i> is a typical for the time diverse mix, which I'm sure I devoured the first time, but re-reading it now I found much of it boring. The articles in this issue touch on Eric Clapton, the process involved in making the 6-LP <i>Crossroads</i> set, a photo-essay of rare classical guitars, an article about Norteno guitarist Lydia Mendoza and features on bassist Stu Hamm, Nashville guitar stalwart Fred Newell, more complex details about chord progressions and a primer on "copyright for guitarists". There was also a very interesting article about the Fender "Nocaster" that is very complete.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://icarusanybody.blogspot.com/2018/07/my-back-pages-thirty-years-ago-in.html">The July issue marked the first of two straight months of heavy Eric Clapton coverage</a> and this month's cover story was actually <b>two</b> articles about Slowhand (and they gave away a signed Clapton signature Strat to boot). As I noted last month, I found a Spotify playlist that includes almost all of the content of the box set if you want to check it out. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">As I wrote last month "In 1988, Eric Clapton was 43 (five years younger than I am now). To teenage me, he was a contemporary musician with lots of great stuff in his back catalog, but it's interesting to see how the writers at <i>Guitar Player</i> (in this, and other articles) treat him as an old man. Think of all that he had yet to accomplish/experience: sobriety, the death of his young son, huge pop stardom with his <i>Unplugged</i> record, 10 more studio albums including multiple excellent "all blues" albums, three "Crossroads Guitar Festivals", happy marriage and the birth of three daughters and the sale of hundreds of instruments and memorabilia to fund his Crossroads 12 Step Treatment center in Antigua." This month's issue continues to treat Clapton as an elder statesman, but does do him the credit of asking about future plans. </span><br />
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<a href="https://2.bp.blogspot.com/-gIdqBCTx_9E/W4q2E8eMg3I/AAAAAAAACOY/DxFgp1cYBj8qQzOBGqrnP6uAcOJUWHtUgCLcBGAs/s1600/888-Clapton80s.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1555" data-original-width="1119" height="400" src="https://2.bp.blogspot.com/-gIdqBCTx_9E/W4q2E8eMg3I/AAAAAAAACOY/DxFgp1cYBj8qQzOBGqrnP6uAcOJUWHtUgCLcBGAs/s400/888-Clapton80s.jpg" width="285" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;">The "Clapton At The Crossroads" interview with Dan Forte (who had been rather negative about the box set in the previous month's issue) was mostly focused on the box set and the August issue's special flexidisc "soundpage", a live version of Derek and the Dominoes doing Hendrix' "Little Wing" shortly after Jimi's death. You can hear this version on the soundtrack to the Clapton documentary "Life In 12 Bars" and is in this month's playlist below. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Clapton has always seemed to be a very reflective man who is aware of his stature in music and on the debts he owes to others. This comes through loud and clear in the interview which covers four pages of the magazine. Here are some noteworthy highlights:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>With [Crossroads] doing so well on the charts and there being so much interest in it, does it create a situation where you're in essence competing with your past?</i></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In a way, but I always was. Ever since I got through the <i>Layla</i> period, I was always aware that I had a lot of ground to cover, to make up for the vitality that was there in those days. So I've always had that problem in certain degrees...</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Of all Hendrix' songs, why did you choose to cover "Little Wing"?</i></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It just had such a powerful atmosphere. There was something very magical for me on his albums. I always went for the more dreamy things--as opposed to the more bluesy or heavy R&B or rock things. I found that his lyricism when he was writing ballads, like "Wind Cries Mary" or "Little Wing" was so different, in a way, that it was powerfully attractive to me. And I realized that those songs could be done by other people too; you didn't need to be the wizard that he was in order to play the song itself. Those songs in fact were much more structured than some of his other things, and more melodic too. As you know, Sting did "Little Wing" as well. The song itself, because of the way it was written, stands up so well--so anyone could do it. In a way, the song was more important to me than who did it, actually. I think that was what it was.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>After Hendrix died, was it different performing that song live?</i></span> </blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It's pretty hard for me to remember how I was feeling, but knowing the way my attitude was, I mean, I shut off my emotions towards Jimi, in a way, because it was such a devastation for me after he died. If I was doing the song now, I imagine I would try to detach from the memory of it, because it would simply be too over-emotional to perform with Jimi's image in my head at the time. There's times when that can just distract you beyond belief. So I was probably doing it in as objective a way as I could. But that's not to say that it wasn't an emotional experience.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>On [your last] tour you went back to being the only guitarist in the group. What prompted the return to solitary guitarist?</i></span> </blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Well, I find that sometimes I get very uptight around other guitar players. If they're younger than me, they're either in awe, or they have an attitude before they start, you know, which I have to kind of try to break down. Sometimes it means that they're going to be flying all my old licks at me, or kind of making me too aware of my past, and we get stuck with that. The only time this hasn't happened has been when I've worked with Mark Knopfler. Although he's very appreciative of what I've done, he's kind of a forward-looking guy and we're about the same age, so there's no competitiveness or anything like that. So we work very well together, and I think he'll probably be very much involved with what I'm doing from here on in--up to a point, anyway. </span></blockquote>
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<a href="https://1.bp.blogspot.com/-aS8FyN0ZqW4/W4q2X4MfYXI/AAAAAAAACOg/riwuvve238koqjus4Mlagd_y_w-ClsspQCLcBGAs/s1600/888-Clapton70s.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1561" data-original-width="1084" height="400" src="https://1.bp.blogspot.com/-aS8FyN0ZqW4/W4q2X4MfYXI/AAAAAAAACOg/riwuvve238koqjus4Mlagd_y_w-ClsspQCLcBGAs/s400/888-Clapton70s.jpg" width="277" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Did you decide to retire your old Stratocaster, Blackie? Was that the reason for the switch to the Eric Clapton Signature Model Strat?</i></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Yes. I was worried that if something happened to Blackie, I'd be out on a limb, you know. I mean, it's still playable, although not comfortably so. It's got a great character--the guitar itself is really a character--and it worried me, taking it around on the road. It just seemed to be unfair; it's like taking a very old man and expecting him to do the impossible every night [<i>laughs</i>]. So it was Fender's Dan Smith's idea to copy Blackie as closely as we could and update it with a little bit of electronic work, to give it a fatter sound, if I wanted it. Which is what one of the knobs does: it gives you a kind of graduation in compression. They duplicated the way Blackie felt, so I would have two or three Blackies, in effect.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The guitar that came to be called Blackie was pieced together from various Strats, right?</i></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Yeah, a very kind of mongrel thing. I bought about five Strats in Nashville, in about 1969 or 1970, and built Blackie out of all of the best components of each guitar. So Blackie in itself was a hybrid, and now these new ones are copies of that hybrid. </span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Well, it's definitely not behind me. It's something I can see on the horizon all the time. There's always an option for me that's very tempting to take, whether it be shall I go on touring or shall I go into films, or shall I stay married or shall I run around. There's always kind of different avenues that are very tempting to me, and I don't think I'll ever get across the crossroads; it's always standing right there in front of me, you know.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Back in the 80's cable tv's The Nashville Network (TNN) had lots of live music, including a daily talk show which featured live performances, called <i>Nashville Now</i>. I watched the show every night just to get exposed to country music (which wasn't easily available in Philadelphia) and I couldn't miss the house band's guitarist, Fred Newell. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">As was often the case with <i>Guitar Player's</i> interviews with top session men, Newell's interview shows how important professional networking and hard work were (and still are), especially in a time before any hot player could become a YouTube celebrity. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Newell worked for Waylon Jennings playing steel licks on his Tele, which led to lengthy sideman gigs with Tompall Glaser, Lynn Anderson and Jerry Reed. Newell describes getting a big break as a studio musician with the "simple but ballsy" intro to "<a href="https://www.youtube.com/watch?v=Z0ZK1DvTBpw">Heaven Is Just A Sin Away</a>", by the Kendalls in 1977. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"I've got to give credit where it's due. The producer, Brian Fisher, said 'I want you to do something on the low strings. I want that kind of sound.' Heck, I'd always thought that when you take a solo, you wanted to burn it up on the high end. Up until then I'd played a lot of different kinds of music, but I didn't really have a distinct style of my own, and Nashville hires stylists. He helped me develop a recognizable style."</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The description of Newell's role in the <i>Nashville Now</i> band is another great glimpse of life at the highest level of professionalism, and I think it's worth quoting from extensively:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fred's official role is electric lead guitarist, doubling on harmonica when needed. The band also includes three other guitarists, John Clausi, who doubles on acoustic guitar and banjo, Larry "Wimpy" Sasser, who doubles on steel and dobro, and Hubert "Hoot" Hester, who plays acoustic rhythm guitar, mandolin and fiddle. Each member of the 13 piece band, which includes four backup singers was hired for versatility and steely nerves.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"It's a high-pressure situation," admits Fred. "Playing live really spooked me for about a month after we started the show. I'd done a lot of videotaped TV shows over the years, and that was pressure enough. But at least it could be done over if there was a real trainwreck. Finally I decided I just had to get in there, go for the throat, and let the chips fall as they may. You just try to do the best you can and stay ready to shift gears real quick. Sometimes singers will come in halfway through a turnaround and you have to go with them. We always try to make the artist sound and look good--that's what we're there for."</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.premierguitar.com/articles/The_Nashville_Number_System_Demystified">Nashville number charts</a> for each tune are usually ready when the band begins rehearsal. These charts, which employ scale numbers to represent chords, are often quite detailed, and the musicians each add their own individual notes to them. "First they play a tape or record of the tune, and we make notations as we go. Parts are left up to the individual musician, but we usually try to get as close as we can to what's on the record. That's what the artist and audience is used to hearing. I've got a little tape recorder that I keep handy, and if I've got the intro to the song or have to play a real distinctive fill or lick, I hold the machine out there and tape it. Then I've got a little reminder that I can listen to right before we do the tune."</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">" I make my own notations on the chart to remind me of things like when and where I want to use effects, what guitar to use, or if I need a special tuning. I've learned to always mark the chart and never take for granted that I'll remember something, because you can make a pretty glaring mistake. It's happened. There's nothing worse than to come to the end of a song and play two extra beats....Having a road map laid out is probably the most important part of preparation for a live show."</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"I don't think you can ever totally relax in this business. I practice every day....A lot of times I pick the guitar up at 6:30 in the morning and just start exploring. You have to be creative and figure out new things to do. I'm really open to experimenting with new techniques, and I've been trying to make it a point to learn a new song about every other day. Some days I just work on technique, like working with a thumbpick for an hour or two, just to get back to using it again.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"I enjoy playing music more now than I ever have, just because I have a chance to do so many different things. It's a shame that a person can't live long enough to experience a good career playing every musical style, because it's all so much fun. It's too bad you can't be a good jazz guitarist for 75 years and then be a good country player for the next 50 years and then play rock and roll for another 50 years. That's my idea of a good life."</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: justify;">Telecaster lovers like to say that "Leo got it right the first time", but this issue's "Rare Bird" article by guitar historian Richard Smith discussed the 1951 Telecaster, and how it evolved through stages from the Broadcaster to the "Nocaster". </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: justify;">Many guitar aficionados know that Fender's first solidbody electric was called the "Broadcaster", but that the Gretsch company forced them to change the name because Gretsch had a line of drums called "BroadKaster" and didn't want the market to be confused. Of course, it's poetic justice that Fender now owns Gretsch!</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: justify;">Anyway, for a few months "while the attorney for Fender's distributor conducted a trademark search for the Telecaster name", the guitars were sold with the model name clipped off of the headstock decal, as pictured below left. Eventually the guitars became Telecasters, as we know and love them today.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: justify;">Or not. Because the original Teles had an unusual wiring scheme shown above left in Leo Fender's own writing. As Smith notes, "The tone control on the earliest two-pickup Fender was actually a blend control; in the lead position, turning the tone control down blended the rhythm pickup with the lead pickup. When the tone control was turned all the way down, both pickups were fully blended. In 1952, Leo changed the wiring, adding a "real" tone control with a capacitor while making the two pickup combination impossible without delicately placing the spring-loaded lever switch between settings, a la the Strat half-switch sound. All Telecasters employed this seldom-used tone control until the mid '60's."</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: justify;">"Why did Fender change the wiring on the first dual-pickup guitars? I asked Leo in 1982 and he didn't remember the original setup, much less why he changed it. But there's a better question more material to the current guitar market: why do collectors pay thousands of dollars more for the size of knobs and what a decal says, rather than for the trait that makes all Broadcasters, Nocasters and the earliest Telecasters essentially the same instrument? In other words, why pay more for a Broadcaster when all the money saved by buying a '51 Tele could go to a good therapist?"</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That's all for this month. I hope you enjoyed it, and that you'll come back for next month's jam packed issue featuring a cover story about Robben Ford. Until then, keep on picking!</span><br />
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-44002011279735650702018-07-28T13:18:00.000-04:002018-07-28T17:59:16.869-04:00My Back Pages: Thirty Years Ago in Guitar Player (July 1988)<a href="https://1.bp.blogspot.com/-xHTwn_WK0Is/WLbLimjj9eI/AAAAAAAABsw/w24YI4v5CVoKsEAAjuu8jvcuyO28K-QZQCPcBGAYYCw/s1600/GP303.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: justify;"></span><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Welcome back to </span></span><span style="text-align: justify;"><a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html" style="text-align: justify;">"30 Years Ago"</a><span style="text-align: justify;">, where I take a close look at the issue of </span><i style="text-align: justify;">Guitar Player</i><span style="text-align: justify;"> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I learned from re-reading it so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue. </span><a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html" style="text-align: justify;">Click here to see all of the previous posts</a><span style="text-align: justify;">!</span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>UPDATE!</b> If you've been reading the blog for awhile you know that I always refer to my super guitar teacher from the 80's, Jim McCarthy. After I last saw Jim in 1992 I lost track of him, but I finally found him this month! He's alive and well in New Jersey and still playing, which makes me so happy I can't describe it. And now, back to our regularly scheduled programming... </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In July 1988 I was one month away from moving away from home for college, working at a <a href="https://en.wikipedia.org/wiki/Caldor">Caldor</a> store in Warminster, PA and nervously throwing up whenever I dwelled too much on the thought of moving away from home for college. Music wise I continued my lessons with Jim, was still listening to a mix of jazz and rock on Philadelphia radio, and practicing with my Epiphone Sheraton. By then I also had an acoustic Fender Avalon (a parlor sized, cherry red guitar with a Strat style headstock) along with my Peavey T-15. That's right: even at this stage of my life I had too many guitars for someone with too little talent to justify!</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The July, 1988 issue of <i>Guitar Player</i> is quite a diverse mix: the subjects touch on avant-garde music, jazz bass, modern melodic metal, Eric Clapton's oeuvre, chord theory, and Jerry Garcia's music in and out of the Grateful Dead, plus much, much more. When I re-read this issue I found it to be pretty challenging: Howard Morgen's "All About Chord Progressions" article is <b>still</b> over my head thirty years after I first struggled with it, the weird, wacky music by the avant-garde guitarists is still a turn off, and I've never found Garcia's music to be very compelling. That said, as always, there were quite a few very interesting bits tucked away in the magazine that I look forward to sharing with you. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The July issue marked the first of two straight months of heavy Eric Clapton coverage (culminating in a cover story in August). This issue's feature was on the <a href="https://lp.reverb.com/listings/13358260/listings">new 6 LP box set <i>Crossroads</i> released on Polydor</a> that purported to be a look back at the Clapton's then 25-year long recording career. Clapton was unquestionably my favorite guitar player (heck-favorite musician) at that time, and after devouring this article I was so excited when my sister told me that she'd get the set for me for my upcoming 18th birthday. I got rid of my vinyl records a long time ago, but I transferred them to MP3 first, and I STILL listen to this compilation on a regular basis. I just found a person on Spotify who laboriously recreated almost the whole thing, so you can listen to it too!</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In 1988, Eric Clapton was 43 (five years younger than I am now). To teenage me, he was a contemporary musician with lots of great stuff in his back catalog, but it's interesting to see how the writers at <i>Guitar Player</i> (in this, and other articles) treat him as an old man. Think of all that he had yet to accomplish/experience: sobriety, the death of his young son, huge pop stardom with his <i>Unplugged</i> record, 10 more studio albums including multiple excellent "all blues" albums, three "Crossroads Guitar Festivals", happy marriage and the birth of three daughters and the sale of hundreds of instruments and memorabilia to fund his Crossroads 12 Step Treatment center in Antigua. Obviously no one can predict the future, but the occasion of a career retrospective was particularly "backwards looking", and reviewer Dan Forte seems to fall a bit into the tone of people on guitar internet forums who claim that Clapton hit his peak in his 20s.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Forte's review "Eric Clapton 'Crossroads': 25 Years of Genius", notes that "Few if any rock guitarists' work has been analyzed to the degree that Clapton's has, and no guitarist's work could stand up to such intense scrutiny as well." That said, he does see fit to point out what he thinks is the biggest issue of the set (and by extension, of Clapton's career):</span></span><br />
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<a href="https://1.bp.blogspot.com/-WidpKQCZJX4/W1x_TLLn6sI/AAAAAAAACNM/uqCpvY-feVUefTUKlRsphXdcBqO6OcqCQCLcBGAs/s1600/july88clapton1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="320" src="https://1.bp.blogspot.com/-WidpKQCZJX4/W1x_TLLn6sI/AAAAAAAACNM/uqCpvY-feVUefTUKlRsphXdcBqO6OcqCQCLcBGAs/s320/july88clapton1.jpg" width="246" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The few problems apparent on <i>Crossroads</i> stem from a sort of identity crisis. Just what <i>is</i> this hefty document? Certainly not a "Greatest Hits" collection. Even at his biggest, Clapton's audience could always have been termed a "cult", albeit a huge cult, and he crossed over to mainstream radio infrequently...In the words of Bill Levenson (Executive Producer of the progject), "I just see it as an honest 25-year portrayal. It shows the hits, the misses, the live material--it's a good 25-year documentary. And it was really meant to be an instructional tool, almost."</span></span></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;">As someone who has played along to the tracks hundreds of times, I know I've used it for instruction for sure. That said, if you've read Clapton's autobiography (written 20 years after this) or seen the recent <i>Life in 12 Bars</i> documentary (another 10 years later), it's clear that Clapton himself is content to take a scattershot view to his past, emphasizing some points and minimizing others. For better or worse, it's his right to do so, but as something of a Clapton scholar, I really appreciate this collection as a "primary source" of sorts. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Very 80's, Forte points out that the collection is organized chronologically, but "of course, CD owners can just set their players on 'random' and get a different show with every listening'." He is also excellent at describing the sonic (and sometimes cultural) impact of the recordings. The following are some of the sharper bits:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"The primitive 'Lonely Years' and the bouncy "Bernard Jenkins', both duets with John Mayall, were recorded prior to the <i>Blues Breakers</i> sessions. The former shows Clapton's abilities as a seamless accompanist as few tracks in his entire catalog do. On the latter's opening solo, he attacks every note full-force. For a 20-year old Brit, he was anything but intimidated by studio microphones, his elder-statesman bandleader, or the fact that he was crossing the color line with every bend of his Les Paul."</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"The next several cuts, unfortunately, illustrate all too clearly the slump that followed Clapton's triumphant return (with <i>461 Ocean Boulevard</i>). "Better Make It Through Today" is at best one of the few tracks that stands out on the mediocre <i>There's One In Every Crowd</i>; the catatonic stance on Elmore James' cathartic "The Sky is Crying" is more indicative of this 12' dud as is the unreleased "It Hurts Me Too". During this period, Clapton's blues playing merely represented the slower portions of the program, with interchangeable songs, uninspired soloing, and cumbersome backing."</span></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Wow. Tell us how you really feel about '70s Clapton, Dan!</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"And finally, the set ends with the newly recorded version of "After Midnight"--yes, the one in the beer </span><span style="font-family: "arial" , "helvetica" , sans-serif;">commercial. This seems to have been chosen out of convenience more than musical considerations. A more dramatic reprise to end Clapton's history-up-to-now would have been his dynamic reworking of "White Room" at Live Aid--not only dipping back into Cream's catalog, but reinterpreting a song Jack Bruce had originally sung and then leaning into his wah-wah for all he was worth."</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"Considering the glitzy sheen of "Miss You" or "After Midnight" it's ironic to recall that this is the same Eric Clapton that forsook pop stardom with the Yardbirds in favor of following a purist's path in search of the spirit of Robert Johnson. Eric Clapton has stood at the crossroads more than once in his 25 years of music making. And so far no one has passed him by</span><span style="font-family: "arial" , "helvetica" , sans-serif;">."</span> </blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I'll get to say more about Clapton in next month's blog post, but I think it is worth pointing out that when he left the Yardbirds to pursue blues purism he was 20 years old and it was only 27 years since the death of Robert Johnson. Rather than holding him up in judgement based on statements he made as a callow youth, I prefer to revel in the wide range of excellent music Eric Clapton has provided us for the last <b>fifty-five</b> years!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Back in the day, one of the most educational parts of any issue of <i>Guitar Player</i> was the "Questions" section. Before anyone could look up anything on the internet, the editors took their role as educators very seriously. In the July 1988 issue, one question was "How many guitars were sold in the United States last year, and how many of them were built here?" In 2018, when we are frequently struck by the duality of entry level guitars that are built to ever increasing standards amidst frequent warnings of the imminent death of guitar-based music, the answer is worth looking at:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"According to recently published figures by the American Music Conference, a non-profit association that encourages amateur music participation, 1,247,265 fretted instruments (which includes such instruments as mandolins and banjos) with an estimated retail value (ERV) of $328,322,000 were sold in the United States in 1987. Of that number, only 123,400, with an estimated retail value of $89,280,000 were produced in the United States. Although the AMC is not able to break the domestic figures down by instrument, it is able to do so for imports: 517,300 acoustic guitars ($79,570,000 ERV) and 453,000 electric guitars ($150,642,000 ERV) were shipped to the US last year. These figures represent an 11% increase in imports and a 5% increase in domestic units over 1986 numbers."</span></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Pretty neat. Besides the fact that I think that half of those 453,000 imported guitars are available for sale right now on Reverb, the dollar value of fretted instrument sales would be the equivalent of over $718 million today. I did a little looking and found a "<a href="https://www.musictrades.com/census.html">music industry census</a>" online that shows that in 2017, total <b>guitar</b> sales in America were 2,630,950 units with a retail value of $1.07 billion (average price $433). The number of instruments sold was up 6.4% from the prior year and the ERV was up 7%. So while recognizing that America's population has grown from 240+ million to over 325 million in the last thirty years, I find these data reassuring about the current and future state of our instrument.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Speaking of guitar forums, when people aren't talking about new guitars, a major topic of discussion is always modifications to instruments they already own. <i>Guitar Player's</i> article about New York luthier/repairmen Roger Sadowsky and Jay Black made for a very interesting re-read. According to the article, Sadowsky's clients included:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Bruce Springsteen, Al Di Meola, John Scofield, Will Lee, Prince, John Abercrombie, Nile Rogers, Sting, Paul Simon, Hall and Oates, Joan Jett, Lou Reed, Billy Squier, Jack Wilkins, Jim Hall, Tommy Shaw, Mike Stern, Steve Khan, Tony Levin, Carmine Rojas, Victor Bailey, Joe Beck, Jeff Golub, Bill Frisell, Daryl Jones, T-Bone Wolk, and Neil Jason.</span></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Wow. That's a music hall of fame right there! <a href="https://www.sadowsky.com/">Sadowsky is still active</a>, and Jay Black went on to work for Fender's Custom Shop for over a decade and has <a href="http://www.jwblackguitars.com/">his own business</a> today. They had some pretty interesting points to make about guitar modifications and the difference between New York and L.A. (which always seems to come up in these old magazines!). Once again, in the pre-internet days, it's clear that they viewed their job as providing expert advice to their customers:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"Much of what we do is educate our clients. Often they know what they want, but they don't know how to get there. They're seduced by ads that don't deliver, and they end up wasting money. We evaluate everything that comes on the market and simplify matters by making recommendations." Sadowsky estimates that his business is now divided equally between customizing instruments and producing and selling his own line of guitars and basses.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"Customizing", Roger explains, "means upgrading the level of a guitar's performance. It's been about a decade since guitar customizing became really popular. Companies like Charvel, Schecter, Mighty Mite and DiMarzio came out with replacement parts such as necks, bridges and pickups, which essentially brought a parts mentality to Fender-style guitars. People began looking at guitars or basses as interchangeable parts rather than as an instrument."</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"One of the key insights I had was when a client brought in his Strat for extensive work--fret job, new pickups, a bridge, shielding--in all a $500 to $600 job. I remember being surprised at how the instrument wasn't significantly improved after all that work, whereas other guitars I'd done the same things to came out superior. I eventually realized that there is an inherent acoustic quality going on in the instrument, which is a function of the wood. "</span></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Later in the piece, Black notes that "players who buy student-level guitars and hope to improve them through customization are much better off buying a high-quality guitar and making small adjustments. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sadowsky implies that one "do-it-all" instrument is more important to working New York musicians "who are dealing with subways and taxis...[they] usually carry one axe and whatever effects fit into the pouches of their gig bags" than to L.A. "studio musicians have cartage to haul their gear around." The article closes with an interesting point that many of us on guitar forums should consider:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"Irving Sloane, who authored several definitive books on guitar construction, once told me, 'Great instruments are not made for the listener, they are made for great musicians.' Most of us have felt, at one time or another, that if we only had different pickups or a certain tremolo system or a better bridge, we would be better players. We naturally prefer to blame our equipment rather than ourselves. Jay and I are just trying to eliminate the instrument as a source of problems, so the musician can focus on his creativity....The magic is in one's hands and soul, not the equipment."</span></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Very thought provoking stuff!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;">The cover story on Jerry Garcia is par for the course of late-80's <i>Guitar Player</i>: 17 pages, including transcription of the "Hell in a Bucket" solo and a detailed sidebar feature on his famous guitar gear by Garcia's roadie. As I noted above, I didn't like the Dead as a teenager, and I still don't see the appeal, but there was one thing pretty interesting to me about the article: it's emphasis on a new beginning for the 45-year-old musician who had fallen into a drug-related diabetic coma two years previously. Honestly, it shocked me to see that Garcia was only two years older than Clapton, who was definitely not at his best either (booze and coke wise) because he looked <b>so</b> much older. The part of the interview focusing on Jerry's recovery from the coma was very interesting:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;">"Well, I was in the hospital for about three weeks. I had...my Steinberger, and I started to poke around a little bit while I was still in the hospital--but just a little. Then after I got out of the hospital, Merle Saunders and John Khan came up to my house a couple of times a week and made me practice. Merle would bring music and we'd play through the changes of standards and stuff like that. Gradually, I started to pick it up again. At first it was very stiff and mechanical. I could figure things out to a point, but it took a while before I really had a sense of how music worked. I had to kind of reconstruct all that. It was about a three or four month process before I felt I was playing well enough to play in front of somebody. I knew I wasn't playing as well as I remembered that I had been able to..."</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"Oh yeah, I had some damage. The damage part was worse than the three or four weeks...But the blessing of losing hunks of your memory is that you don't get too hung up over what you don't remember, because it's gone. It's not a question of 'what is it I don't remember here? Is it something valuable?' It's gone...Gradually everything sort of came back, but it wasn't without a certain amount of work. I had to do everything at least once to remind my muscles about how something worked. It was the thing of making the connection between mind and muscles, because I hadn't been away from playing for so long that my mind had forgotten. The neuropathways were there and the reason for doing it and why it worked -the intellectual part- was also there, but they were separated. I had to pick them up like, here's a chunk of how music works, over here is a hunk of why I like to play it, and here's a hunk of my muscles knowing this stuff. It was a matter of putting my hands on the guitar and actually playing through tunes and trying to solve the problem of how the structure of each tune works-addressing the whole thing. That's what did it, but it took a while. I'm still in the process of rediscovery. I suddenly go, 'Oh right. Here's a whole area. I remember that year that I worked on this stuff.' It tends to come back in chunks. But like I say, I don't remember what I don't remember. I'm not hung about it, and every time I discover something new, it's delightful."</span></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;">What an interesting passage! It's really sobering to realize how much of our ability, personality and talents are locked up in our grey matter, and so stories like this, or like Pat Martino's are very inspirational to me. </span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That's all for this month. I hope you enjoyed it, and that you'll come back for next month's cover story Eric Clapton. Until then, keep on picking!</span><br />
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com1tag:blogger.com,1999:blog-428900226049233659.post-55998452925436518942018-06-17T18:30:00.002-04:002018-06-17T18:30:59.242-04:00My Back Pages: Thirty Years Ago in Guitar Player (June 1988)<a href="https://1.bp.blogspot.com/-xHTwn_WK0Is/WLbLimjj9eI/AAAAAAAABsw/w24YI4v5CVoKsEAAjuu8jvcuyO28K-QZQCPcBGAYYCw/s1600/GP303.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="957" data-original-width="1600" height="191" src="https://1.bp.blogspot.com/-xHTwn_WK0Is/WLbLimjj9eI/AAAAAAAABsw/w24YI4v5CVoKsEAAjuu8jvcuyO28K-QZQCPcBGAYYCw/s320/GP303.jpg" width="320" /></span></a><span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;"></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Welcome back to </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html" style="text-align: justify;">"30 Years Ago"</a><span style="text-align: justify;">, where I take a close look at the issue of </span><i style="text-align: justify;">Guitar Player</i><span style="text-align: justify;"> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I learned from re-reading it so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue. </span><a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html" style="text-align: justify;">Click here to see all of the previous posts</a><span style="text-align: justify;">!</span></span></span></span></div>
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June 1988 is when I graduated from high school, and just as that marked a major epoch in my life, there was a lot in the June, 1988 issue of <i>Guitar Player</i> that reminds me very vividly of what I was doing musically at the time. As I've mentioned before, I was taking weekly guitar lessons with a recent GIT graduate whose teacher in Hollywood was this month's cover star, Frank Gambale. Most readers of the magazine might have first heard of The Thunder From Down Under in the previous <a href="https://icarusanybody.blogspot.com/2017/09/my-back-pages-thirty-years-ago-in.html">September's issue on "Speed And How To Get It</a>", but I got to listen to Frank at my weekly lessons, and also goggle at my teacher, Jim McCarthy's amazing sweep picking skills. In fact, I remember bringing this issue to our lesson and Jim greeting me at the door with his own copy and a huge smile on his face.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Even though I came to Jim to learn how to play blues like Eric Clapton, he really worked to open my ears to more advanced music. The two people he talked about the most were Frank Gambale and Larry Carlton. Consequently, I remember being totally shocked to see the short blurb about Carlton being shot in the throat during a home invasion. Fortunately he made a full recovery and still makes great music three decades later. Oh, and speaking of Clapton, this issue of <i>GP </i> had a full page ad for the five LP Crossroads box set, which later that summer became my 18th birthday present from my sister and is unquestionably the album I've listened to more than any other in my life. More on that in next month's post.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The issue has far too much to get into in this post, but some of the other highlights include two articles by LA gear guru Andy Brauer, a "track by track" of Ted Nugent's new album, a feature on Jethro Tull's guitar god Martin Barre, and a "Spotlight" feature that has two young men who went on to have very successful music careers. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If you haven't heard of Andy Brauer before, he was (and is) an expert on guitar gear and tone who has rented equipment to nearly everyone you can think of over the past four decades. In the June, 1988 <i>Guitar Player</i> we were treated to an "as told to Vic Trigger" article as well as the first of Brauer's monthly "Guitar Tech" columns. Trigger's article notes that the then 30 years old Brauer is "highly opinionated, but he has the knowledge and the background to back him up. He has carved a career for himself as L.A.'s guitar specialist." </span><span style="font-family: arial, helvetica, sans-serif;">When I first read this as a teenager I'm sure that I was eager to glean whatever I could about how to get great tone (which is funny, because not only did I not really understand tone, but my Peavey Audition 10 probably couldn't help me get it even if I did!). And there were lots of really cool tips in the article. Brauer describes moving to L.A. at the age of 18 (maybe this caught my eye!) and became a repairman and tech at a music store, which led to a job touring with The Brothers Johnson and then as the guitar tech for Michael Jackson's "Thriller" album. As Brauer put it:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I was in the right place at the right time. Not only was I carting gear around for guys, supplying my own special pieces at times, but I was offering a personally specialized and knowledgeable service. It started in the backseat of my car, and now I have a great staff of six guys, who all play guitar, busting their butts for our clients. I have over 50 individually selected guitars, over 100 handpicked amps, racks, speakers and so forth, all of which allow me to offer that much more of a personalized service. </span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">For an Eric Clapton session on "Behind The Sun", I selected a Mitchell Tweed Deluxe amp that Howard Dumble modified for me. In my opinion it was the ultimate blues amp. You play hard, and it's nasty; you soften up, and it's sweet. Sure enough, Eric fell in love with it and eventually I was convinced to sell it to him....That's what I do: I collect magic and rent it.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Later in the article Brauer dispensed some words of wisdom which would seem perfectly at home on 21st century online guitar forums, and while not necessarily applicable to a 1980's teenager, are definitely resonant with me now decades later (I've added emphasis) .</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There is no single best sound. The best sound is whatever makes you the most happy, and one man's honey can be another man's poison....The trick is to get the sound coming out of your hands by the way the can manipulate the sound <i>without</i> an amp. </span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> ...[t]he Japanese have never gotten it right for pickups. They even use American wire, bobbins and everything, yet they still can't get them to sound great....You've got to find the pickup that works well with your own playing techniques.</span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Howard Dumble Overdrive 50 was my ticket to success in the studios. I would be an obnoxious nuisance and bug Steve Lukather, Lee Ritenour, Larry Carlton and Jay Graydon until they would plug into the Dumble. And then I had them, because they needed me to rent this amp that they loved. </span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>By actually seeing what is renting out of my shop, I can see what the trends are. I'd say we are about three years ahead of what is hitting the mainstream now. Just recently, I've noticed a drop in rack usage and an increase in Vox and old Marshall rentals....[p]retty soon, guys are going to be getting back to the thing of just plugging in.</b></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If you missed that last bit, Brauer basically predicted the grunge movement! </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: center;">It's possible (likely?) that teenagers in 2018 who know of Ted Nugent associate him for his outspoken political views, his friendship with President Trump, and his enthusiasm for firearms and bow hunting more than for his rock guitar stylings. At the time, I was used to hearing some of his classic songs like "Journey To The Center Of The Mind" and "Cat Scratch Fever" on classic rock radio. In this issue Nugent is featured in an "as told to Jas Obrecht" piece as well as a track by track run down of his new album, the salaciously titled "If You Can't Lick 'Em...Lick 'Em". You can listen to the record on the Spotify playlist below--it is very engaging 80's guitar rock. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: center;">For anyone who might think that the Nuge was a newcomer to his interest in weapons, this article will quickly dispel that notion. Obrecht notes the decor of Nugent's home studio:</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: center;">"Behind him, a stuffed bear stands frozen beneath a mantel stuck full of knives. Shelves are neatly divided: one for cassettes, one for live ammo. VCRs and amps are scattered among chainsaw, critter skulls, venison sausage and a rocket launcher. For Ted Nugent, music and hunting are serious business. 'If I weren't a rock and roller,' he asserts, 'I'd probably be a special weapons expert in the Detroit SWAT team, or a commando in an elite anti-terrorist squad.'"</span></span></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif;">While Ted Nugent was famous for rocking hard on a <a href="https://en.wikipedia.org/wiki/Gibson_Byrdland">Gibson Byrdland</a>, a short-scale, fully hollow guitar that few would consider for such loud music, by the time of this piece he had started using a Paul Reed Smith solidbody. Nugent was very enthusiastic about the PRS, and what he said would seem right at home on modern guitar forums.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">...[t]he new Paul Rivera stereo tube amplifier and the Paul Reed Smith guitar...is just wonderful, and you have to hear it live to really appreciate it. It is the richest, thickest, creamiest guitar tone you've ever heard in your life. I'm telling you, it's unbelievable.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The appeal of the Paul Reed Smith guitar is touch. I'm a utilitarian, basically, and I'm also a seat-of-the-pants liver. I like to live by function and feel. My cars have to handle precisely, my firearms have to respond flawlessly. There's a 'player's touch' to Paul Reed Smith's approach to the instrument that I am convinced is unique in the industry. There's no other neck that you can consistently pick up like you can a Paul Reed Smith and feel at home with <i>immediately</i>. The body configuration and tone are just the best--that's all there is to it. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Later in the piece, Nugent mentions that PRS "does something to the Marshall 100-watt head that gives it a full richness", which is followed by this comment from what the forums call Paul Reed Smith himself:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"New Marshalls don't sound like old Marshalls, and I modified a bunch of Ted's tops so that they sound much more like old Marshalls. I'm not going to tell people what I did, because then my business modifying Marshalls would just be gone. I charge $100 per top. Ted has three or four of our straight PRS guitars. His Pearl Black mahogany one has a Hot Vintage pickup in the treble position and our Standard bass pickup. His curly maple guitar has a prototype of the very powerful H.F.S. pickup in the treble position. These pickups were intended to make his guitars a little less shrill and more singing....His guitars use our straight tremolo system which doesn't need Allen wrenches."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Obviously this was the young, hungry always hustling Paul Reed Smith decades before his eponymous company became America's third biggest guitar manufacturer. I love seeing him trying to protect his $100 a pop line in amp tweaking!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Two more quick hits from Ted. By now, having been rereading so many of these issues, it's not surprising to see another personal reminiscence of Jimi Hendrix, and Nugent's are not too different from Carlos Santana's a few months before:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Jimi and I jammed quite a bit back in the '60s and we did a couple of dressing room things....You know, thinking back about Jimi, you don't know what was his personality and what were the manifestations of the drugs that he was doing at the time. That was always the real shame; that's what really angered me. He was overtly reclusive, and he was real difficult to communicate with. That was one of the reasons I never did any drugs, because I saw this incredible power sadly abused and embarrassingly hampered by all this chemical bullshit. It really pissed me off, because man, could he play! Oh, my God!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If you had seen what he accomplished in <i>one</i> night in New York when I played with him it would have changed your life. It changed mine. The way he played, the notes he chose, the borders he broke down, and th eground that he created, it was absolutely earth-shattering....And Jimi was amazed that I could actually get a Byrdland in control like that, because he tried and was completely lost with it. He couldn't play it!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">So, at this point the only two rock legends I can think of who never did drugs are Ted Nugent and Bruce Springsteen. At least they have something in common.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Finally, as a fan of <i>This Is Spinal Tap</i>, I can't ignore Ted's description of the title track to his LP:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"If You Can't Lick 'Em...Lick 'Em". What do you think of that? Is that the greatest or what? At first the record company was a little reluctant about the title--they thought it was a little too nasty. But it's not really. It's just a play on words. It's like saying, "If you can't beat 'em, join 'em". That really is the essence of it. Also, it has to do with the specific combat mode with women. I mean, if you can't lick 'em, at least you can lick 'em. The whole song was romantically ignited. We've always got a lot of miniskirts in the studios...."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Or as Nigel Tufnel once said, "<a href="https://www.youtube.com/watch?v=W3Qn1uHlRIY">What's wrong with being sexy?</a>" </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Speaking of guitar forums, recently in a thread on The Gear Page that discussed the continued decline of <i>Guitar Player</i>, a poster remarked "put Martin Barre on the cover and I'll subscribe". I don't know if Jethro Tull's longtime guitar slinger was ever on the cover, but 30 years ago this month he was the recipient of a full-page feature. Check it out--it's a nice feature, and if Barre is ever in your town, <a href="http://blog.musoscribe.com/index.php/2015/12/04/concert-review-martin-barre-asheville-nc-3-december-2015/">I hear he puts on a good show</a>. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;">The cover story on Frank Gambale was really interesting to re-read. When I was a teen, much of what he had to talk about went over my head, and I mainly appreciated in the context of the "teacher of my teacher". But now, it's clear that the Australian fusion phenom had lots of valuable information to impart. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;">As <i>GP </i>editor Jim Ferguson notes at the beginning of the article, "Of course Frank Gambale has amazing chops, but leaving it at that does him an injustice. Gambale is a top player, and a technical innovator who only uses his facility to execute <i>ideas</i>. In short, he is a remarkable musician." In his 20's Frank saved his money to be able to attend the Guitar Institute of Technology, where he was the Student of the Year in 1983 and worked for three years, including 1985-86 when he taught my teacher Jim McCarthy. At the time of this article, Gambale had published two books (<i>Sweep Picking</i> and <i>The Frank Gambale Technique Book</i>) and was working on a video, which you can still find on YouTube:</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Some highlights of the article for me touch on Frank's musicianship and the importance of listening to other instruments.</span></div>
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<i><span style="font-family: Arial, Helvetica, sans-serif;">You seemed to get labeled as a technically oriented player....Were there any drawbacks to having that kind of reputation early in your career?</span></i></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"> Not really, but it irritated me a lot. I got lumped in the same old guitar category, where you get evaluated in relation to the guitar and not in terms of what other musicians are doing. It might sound strange, but I'm at the stage where I don't even want to be categorized as a guitarist; I'd rather be classified as a musician who happens to play the guitar. I'm trying to go beyond the nature of the instrument in terms of the way that I play. My whole style comes from the notes I choose, rather than the physicality of the instrument.</span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">In other words, my technique developed as a result of wanting to play certain notes. When people hear me at a gig, their reaction is usually "How do you play that?" But when Allan Holdsworth opened for the Electrik Band during a tour last year, he said "Man, I really dig the notes you play." He's a phenomenal musician, so that was a very high compliment. He didn't care how the hell I did what he heard because he was listening to the notes. You have to have good ears to discern the difference between content and technique. I don't play for the guitarists in the audience, I play for the musicians.</span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>You have a rock sound and look about you, but your playing draws from the jazz vocabulary. How do you like to be described?</i></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">The term jazz is used very loosely these days, and it doesn't mean a damn thing. My records include everything from funk to Brazilian stuff to swing to rock ballads. I write whatever I want and I don't worry about labels.....Music theory is very interesting, and finding new chord changes is important. There's nothing wrong with a I-IV-V progression, but I couldn't play it with conviction. Over the years I've done a lot of different kinds of music, including rock, country, disco and funk, so that's where my compositions come from.</span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>A lot of your single-note style is sax-derived. What are the basic differences between a sax player's approach and that of a guitarist?</i></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">The guitar's fretboard is conducive to things based on positions and shapes, so you find yourself falling into ruts and playing the same ideas over and over. In other words, you see a shape, rather than invent it in your head. Now I'm not a sax player, but I assume that the nature of the instrument doesn't encourage that so much....The beautiful thing about transcribing saxophone or piano solos is that there's no pre-conceived way of playing those notes. Since they don't fall into the usual fretboard patterns, you have to find new ways to find them on the instrument.</span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>What do you suggest for developing a vocabulary that's more horn-like?</i></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">Start listening to saxophonists, obviously. There's a number of great players; Michael Brecker is probably the kingpin. Few of his solos are very easy, so they're always a challenge. Playing any of his solos from beginning to end on the guitar is a considerable achievement. Even his slow passages are beautifully played, and the note content is always fresh and exciting. </span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">This really hits home now, and I can remember my teacher urging me to transcribe sax solos. Obviously my limited musical facility made that impossible, but in the past few years I've reached the point where I can learn phrases and passages from horn players, and it really does help. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Finally, one of my favorite parts of re-reading the old magazines is looking at Mike Varney's Spotlight feature: I love to look online to see what these guitarists and bassists have been doing for the last thirty years. This month's issue features two pretty prominent musicians, composer Craig Garfinkle and guitar wizard, gear guy and all-around super musician Richie Kotzen (who seems to have grown up just an hour or so from me). Varney was pretty on target noting Kotzen's hope to "play in a band on a national level" and Garfinkle's "compositional skills". Good stuff!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">That's all for this month. I hope you enjoyed it, and that you'll come back for next month's cover story on Jerry Garcia of the Grateful Dead. Until then, keep on picking!</span><br />
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com2tag:blogger.com,1999:blog-428900226049233659.post-36470188982701085692018-05-27T16:03:00.000-04:002018-05-27T16:03:23.336-04:00My Back Pages: Thirty Years Ago in Guitar Player (May 1988)<div style="text-align: justify;">
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Welcome back to <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">"30 Years Ago"</a>, where I take a close look at the issue of <i>Guitar Player</i> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I learned from re-reading it so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue. <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">Click here to see all of the previous posts</a>!</div>
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The May 1988 issue seems to be chock full of the kind of variety that made <i>GP</i> so great back in the day, especially for a young person still learning about music, musical genres, and the instrument itself. I was already a fan of cover artist Albert Collins (I owned a "Master of the Telecaster" t-shirt) and watched MTV's "Headbanger's Ball" every weekend so I was certainly interested in what Steve Vai had to share about recording David Lee Roth's latest album. But the country picking of Jerry Donahue, the highly detailed article on the physics of sound, a 5 page spread on the E-Bow, and a great interview with rockabilly legend Roland Janes of Sun Records was icing on the cake!<br />
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I can remember totally immersing myself in the Collins article (after which I cut out the first page and hung it on my bedroom "Wall of Fame") and I know that I dug the piece on Janes (in fact, it is definitely this article that clued me into his existence, as well as the background of one of my favorite songs, Billy Lee Riley's "Flying Saucer Rock and Roll". I'm sure that I read the rest, but it doesn't really leave much of a memory. The physics article is quite interesting indeed, and reading it NOW is quite educational, but I think it went over my head three decades ago.<br />
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The cover story is by the always reliable Dan Forte (who doubled as "Teisco Del Rey" who wrote about oddball 60's guitars) and is called "Blues Meltdown: The Power of Albert Collins". I feel that the article is a bit too "fanboy-ish" at times, but it does a good job of describing the technical aspects of Collins' sound and how he got his tone. Basically, "he tunes to a minor chord...an F minor triad or a Dm7 flat 5 without the root (F-C-F-Aflat-C-F low to high). Playing essentially in first position at all times he uses his capo to locate the song's key up and down the neck-hence using only about a third of the fretboard at times." He also played through a 100 watt Fender Quad Reverb, with volume on 10, treble on 10, middle on 10, bass off and reverb at 4. Ice Pickin' indeed!<br />
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Re-reading the article, I find it less interesting than I did at the time, and less educational than other articles with bluesmen from the time period. But I do notice that Collins seems to be quite a name-dropper, usually in ways that help to put himself over as a legitimate king of the blues. Here are some examples:<br />
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<i>Your style is powerful and electric; obviously at some point you took a left turn from your early influences such as John Lee Hooker and Lightnin' Hopkins</i></blockquote>
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Well, they really inspired me, when I went to guitar. I really wanted to do that, and I used to sit down and play all those guys' records. I met B.B King when I was 20 years old, and he told me "Man, find your own identification. That'll help you through the world." I said "Okay". That's what I did--I tried to find my own identification. I didn't want to play like BB. or T-Bone Walker.</blockquote>
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<i>When you hear younger blues players you must hear a lot of your influence coming out in their playing.</i></blockquote>
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Oh yeah. I have pretty good ears, and I can hear it. I hear when Stevie Ray Vaughan is playing like Albert King, a little BB then he goes into Jimi Hendrix, or me. I appreciate a musician being versatile, but I look at them and think "Well, can he get his own identification?" I wonder about that a lot. There's so much music around, and you get one particular music in your ear, and then you start playing like this other person. I don't listen to that.</blockquote>
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<i>You bend some pretty big intervals</i></blockquote>
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Like this? [With the capo at the 9th fret, in D, Albert bends the second string up a whole step from F at his 12th fret to G. He then drops down a fret and bends the E at the 11th fret up a minor third to G.]</blockquote>
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<i>Did you concentrate for a long time on your intonation? When you bend, it's always right on pitch--in contrast to Buddy Guy, for instance, who often bends up to notes that don't necessarily have anything to do with the key of the song.</i></blockquote>
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Well, see, Buddy's been introduced to Jimi Hendrix. That's the reason why he plays like that. Buddy really don't like to play blues no more. He's into the Jimi Hendrix thing. I'm not sure, but I hope he knows what he's doing, because, like, if I wanted to play like Jimi Hendrix--I'm noted as a blues player. People say "Hey, man, what you doin'?" <i>Ain't</i> no more Jimi Hendrix. I <i>try</i> for my intonation to be true.</blockquote>
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<i>Your style seems a lot closer to rock than a lot of blues players. Is that because you listen to a variety of music?</i></blockquote>
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Yeah. I even listen to rap music. But I was listening to a lot of psychedelic music then, starting in 1969, when I really got introduced to it. And I was around Jimi for a minute, when he was 17. I took his place with Little Richard when he left to play with a group called the Drifters. I worked like 15 dates with Little Richard. Me and Little Richard have been friends for years. By doing that, I got introduced to that kind of rock and roll, instead of just playing blues. I was raised up mostly around jazz musicians--horn players like Arnett Cobb, when he was real popular, and Illinois Jacquet, whose father used to play alto with me. </blockquote>
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<i>What was it like working with Robert Cray on the Showdown record?</i></blockquote>
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Oh, it was beautiful because Robert and I played together for three years. I played his high-school graduation party in 1971--that's when I first met him. The class had to pick between me and Frank Zappa [<i>laughs</i>].</blockquote>
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<i>What was it like playing Live Aid?</i></blockquote>
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I was excited man [<i>laughs</i>]. That's when I really got stage-fright--about the first time in my life. I looked out and saw all those people, and George Throrogood said "Hey man, you scared?" I said, "Yeah". He said, "Me, too. Let's go get 'em."</blockquote>
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So what do we learn from Albert Collins? He thinks Stevie Ray Vaughn (who now, decades after both men have died, is well known for his trademark tone and style) is a mere mimic. He thinks Buddy Guy (still creating vibrant new blues music) is a mere copyist of Jimi Hendrix (who, if anything, got much of his style from Guy). And I didn't even include the story about Janis Joplin... Look, I still enjoy Albert Collins but I had a bad concert experience with him in 1991--his band was playing two shows at a club in Massachusetts. I went to the first show, and it started 30 minutes late. Then the band (led by Debbie Davies on guitar) played for 45 minutes because the Iceman wasn't there. He literally walked in the door, came up on stage, played "I Ain't Drunk", and then the show was over. Total ripoff! Here's a televised concert of that band to show what I missed:<br />
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Albert Collins was a great showman with a large band to support in a time when music was changing away from him. His cameo appearance in the Elisabeth Shue movie "Adventures in Babysitting", his Grammy, and his appearance with George Thorogood at Live Aid in Philadelphia, along with the heroic publicity efforts of Bruce Iglauer at Alligator Records were lifting Collins' profile, but he seemed to treat an interview with a seemingly awe-struck Forte as a chance to put down the competition. It's understandable for a 55-year old musician to want to do that, I suppose, but it's disappointing nonetheless. <br />
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<a href="https://3.bp.blogspot.com/-wRurDR33xJg/WwriIJRuSgI/AAAAAAAACLE/KzUGstGS6JEl0XQ9KzPWMcxTCM-ceVzhQCLcBGAs/s1600/May88Vai.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="400" src="https://3.bp.blogspot.com/-wRurDR33xJg/WwriIJRuSgI/AAAAAAAACLE/KzUGstGS6JEl0XQ9KzPWMcxTCM-ceVzhQCLcBGAs/s400/May88Vai.jpg" width="306" /></a>Steve Vai's article about the recording of David Lee Roth's second solo effort "Skyscraper" has good information about the record (he does a track by track explanation of how he got the guitar sound for the album) and also about his brand new signature JEM guitar. Years later, it's hard to think of that iconic instrument being "new". It's also hard to remember that Diamond Dave sold a lot of records: "Skyscraper" hit #6 on the <i>Billboard</i> chart and the song "Just Like Paradise" was a #1 hit while "Damn Good" was #2. Personally, this record sounds horrible to my ears now--the title track in particular is like something that could have been on Spïnäl Täp's "Break Like the Wind". But Vai's guitar playing is nothing short of incredible. His melodicism is undeniable, and even on the most far-out whammy excursions what he plays makes sense in ways that Roth's previous guitar player would rarely manage.<br />
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The article goes into a lot of detail about the recording--apparently Vai cut the guitar tracks in his backyard studio, and he says that "half the solos on the record were flown in from the demos. In other words, I lifted them right off the demo tapes and transferred them onto the master tapes." He notes that he didn't have the JEM guitars while recording the demos, and so those solos "were done with a Tom Anderson guitar. Tom is a real fine custom guitar builder in Los Angeles, and he built me a great one."<br />
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According to Vai, the JEM guitars are the best he'd ever played, saying "I don't know what I did without them all these years."<br />
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<a href="https://4.bp.blogspot.com/-dTasaxo64fA/WwsEXlHQxxI/AAAAAAAACLY/6knKUh69eAMXGFmp8epZZ4pgM24khSewQCLcBGAs/s1600/Screen%2BShot%2B2018-05-27%2Bat%2B3.15.47%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="310" height="400" src="https://4.bp.blogspot.com/-dTasaxo64fA/WwsEXlHQxxI/AAAAAAAACLY/6knKUh69eAMXGFmp8epZZ4pgM24khSewQCLcBGAs/s400/Screen%2BShot%2B2018-05-27%2Bat%2B3.15.47%2BPM.png" width="121" /></a>The guitars I use are exactly like the ones right off the shelf. That was the concept behind doing the deal with Ibanez. I wanted a guitar that had all my little ideas and idiosyncrasies, such as having 24 frets, and having it dug out so the Floyd Rose is recessed into the body. I wanted to be able to pull up on the bar and have it not go out of tune when you rest your wrist on the tremolo. I wanted to have the volume pots in a certain place and be able to reach high up with the cutaway.</blockquote>
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I asked Ibanez if they would build me one. A bunch of different companies approached me--all good companies--but nobody really delivered exactly what I wanted, and Ibanez did. Then we talked about mass-producing it, and I didn't want to put my name on it, because who wants to buy a Steve Vai guitar? What is it going to be in 20 years? It's better that the guitar actually speaks for itself. It's a very fine instrument that will transcend my popularity as a guitarist. As time goes on, and other great players come along, I don't think the guitar will bow out, because it's a good guitar and should live on. There were 777 green JEMs made and I signed each one of them. </blockquote>
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<a href="http://www.ibanez.com/products/u_eg_sig_series18.php?year=2018&cat_id=1&series_id=32">Well, a glance at</a> <a href="http://www.ibanez.com/products/u_eg_sig_series18.php?year=2018&cat_id=1&series_id=32">Ibanez' website reveals that more than THIRTY years later, the "Steve Vai" guitar is still in production</a>. But I'm struck by Vai's modesty. Watch videos of him on YouTube, and decades later he still looks and plays like the ultimate rock god, but he always comes across in interviews as a humble man driven more by his muse than by a competitive urge--very admirable for sure. One last tidbit from the Vai piece--he expresses disappointment in the flexidisc Soundpage from the March 1988 issue of <i>Guitar Player </i>(<a href="https://icarusanybody.blogspot.com/2018/04/my-back-pages-thirty-years-ago-in.html">read about it here</a>, if you missed that post):<br />
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Before I go, I'd like to say that when I recorded what was on the March '88 Soundpage [Ry Cooder & Steve Vai's <i>Crossroads</i> duel], it was as a piece of music for a movie. The parts that I played on there were purposely played a certain way to coincide with the script--i.e., when Jack Butler loses, he messes up, which is the last lick on the Soundpage. I want people to understand that it was slopped up for a reason. I thought it was a bad choice of music to put on the Soundpage, because there were some great jams that me and Ry did. I also want to express my gratitude to readers for being voted Overall Best Guitarist. I'm very grateful for being recognized.</blockquote>
Ok. Maybe there IS some ego there after all!<br />
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I find the whole Sun Records scene from Memphis in the 50's to be fascinating. Not just because as the home of (among others) Ike Turner, Carl Perkins, Johnny Cash, Jerry Lee Lewis and a cat named Elvis Presley it was the home of so many seminal rock and roll recordings. But because it was run on a shoestring, and so many of the trademark guitar playing was done by so few people, such as Scotty Moore, and Roland Janes. As Rich Kienzle puts it at the start of his article:<br />
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When rockabilly magic was a daily occurrence in the 1950's at Sun Records in Memphis, guitarist Roland Janes was there. When some of the greatest rock and roll of all time was recorded, Janes was often seated in the tiny Sun studio, whanging out double-stops, burning with his famous trmeolo picking, or doing whatever else was required. </blockquote>
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Don't recognize his name? Anyone who's heard Jerry Lee Lewis' "Whole Lotta Shakin' Goin' On", Bill Justis' classic instrumental "Raunchy", Warren Smith's "Ubangi Stomp", Hayden Thompson's "Love My Baby", or Billy Lee Riley's "Red Hot" or "Flying Saucers Rock and Roll" has heard Roland, who estimates that he was on 75% of Sun's recordings from 1956 into the '60s when Sun became dormant. Today, largely retired from playing but affiliated with the Sam Philips Recording Studio in Memphis as an engineer and producer, Roland Janes reflects on his days at Sun with a mixture of pride, bemusement, and dry, self-deprecating humor.</blockquote>
Janes, who died in 2013, comes across as a humble, interesting man who understands the place of the guitar as PART of a song, not the POINT of the song. At one point he observes "[p]robably the greatest talent I had, if I had any talent, was the fact that I was capable and smart enough to know when to play, and when not to play--and what to play in order not to get in somebody's way. With Jerry Lee, he was the show, the performer, the star--the way it should have been--and anything that I played should complement him. That's probably about the limit of my talent. Working with Jerry Lee, if you're going to take a solo of any kind after he gets done playing, you damn well better come up with something different or something good." Every guitar player in every band should have these words written on the inside of their guitar cases to see them and reflect on them before every gig.<br />
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While the picture above shows Roland picking the Gibson Les Paul Custom he used with Jerry Lee Lewis, gear wise, Janes reveals that his main guitar at the time was a "sunburst, maple neck Fender Stratocaster" that he rewired to allow him to play the neck and bridge pickups simultaneously. I've done the same on my own Strat, and it's a really good, useful sound. He says he got the idea from Nashville sessionman Reggie Young, and it's great to see that even in the early days players were modding their gear in pursuit of tone and playability.<br />
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Pretty cool! While this issue did not grab me as much upon re-reading it, there was still lots to learn and lots to think about. Stay tuned for next month's issue, featuring Frank Gambale, Ted Nugent and Martin Barre--until then, keep on picking!</div>
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-24854115085724206652018-04-29T18:06:00.001-04:002018-04-30T14:07:55.979-04:00My Back Pages: Thirty Years Ago in Guitar Player (April 1988)<div style="text-align: justify;">
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Welcome back to <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">"30 Years Ago"</a>, where I take a close look at the issue of <i>Guitar Player</i> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I learned from re-reading it so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue. <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">Click here to see all of the previous posts</a>!</div>
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April of 1988 was a big month for me, as it was when I decided to attend Hampshire College in the fall; that was a life-altering decision in many ways, not least of which being that it is where I met my wife! Guitar wise I was continuing my lessons with my GIT trained teacher and learning how to play the blues on my Epiphone Sheraton II, my Peavey T-15 and my Fender Avalon Acoustic. I absorbed music wherever I could, listening to jazz and rock radio in the Philadelphia area, watching MTV, and the Nashville Network on television and reading about music all the time.<br />
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<a href="https://3.bp.blogspot.com/-Xp0QJjgQpdg/WuYfYEdBxoI/AAAAAAAACJQ/Nzb9EGlld5o-leCQDKP-LNLEH-zSjbOOgCPcBGAYYCw/s1600/GP488Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="400" src="https://3.bp.blogspot.com/-Xp0QJjgQpdg/WuYfYEdBxoI/AAAAAAAACJQ/Nzb9EGlld5o-leCQDKP-LNLEH-zSjbOOgCPcBGAYYCw/s400/GP488Cover.jpg" width="306" /></a>The April, 1988 Guitar Player issue really stood out for me as an eye opener. It was where I first learned about slide genius Sonny Landreth (at the time a sideman for John Hiatt, but just beginning his solo career) and fingerstyle jazz titan Tuck Andress (whose first album with his wife Patti Cathcart was released that year) and the cover story with Joe Walsh really stuck with me, along with his "12 Greatest Guitar Solos of All Time" featurette.<br />
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I remember being totally amazed by the articles on Landreth (who described his style which involves fretting the guitar <b>behind</b> the slide) and Andress (who famously can simultaneously play independent bass, rhythm and lead lines on his Gibson L5); in fact, I cut out the full page picture of Tuck Andress and added it to my bedroom wall gallery of the greats (along with Clapton, Knopfler, BB King, Carlos Santana and Chuck Berry). To this day, I STILL cannot begin to understand how these musicians manage to do what they do!<br />
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The Sonny Landreth article was written by Dan Forte, and does a great job of explaining how the Louisiana slide genius developed his style, and his role playing lead guitar for John Hiatt (a role that had been filled on record by Ry Cooder). Landreth was 37 years old in 1988, so he was far from a novice, but the Hiatt gig and this article really brought him to national prominence. The Spotify playlist below has a live set from around this time, and you can also appreciate his playing on this contemporary video:<br />
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It's not always too easy to see in the video, but the behind the slide playing of Sonny Landreth is truly amazing. Now, I've been playing for more than three decades and I can't really even play regular slide guitar, but even so, Landreth blows my mind. The article has a separate pictorial feature showing how Landreth plays certain lines, but for this blog post I'll share a couple of excerpts from the interview where he describes the genesis of his style. It's truly a case of "necessity being the mother of invention", and shows how a gigging musician (with only one guitar) had to come up with clever ideas to be able to play the music he wanted to play.<br />
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"Basically, I played slide the conventional way for a while, and then in early '71 I was in a blues band with David Ranson. I was really frustrated because to play minor chords I had to retune the whole guitar to a minor---like in E tuning, lower the G# to a G, which is a really nifty sound. I still love it and still use it, but at that point I was playing slide on some tunes and regular guitar on others, so to make the transition, I wasn't used to it. Then I found that instead of having to retune, you could stay in open E and just play the three low strings open (E,B,E) and the three high strings with the bottleneck at the 3rd fret (B,D,G) which all together is an Em7 chord. To get the IV chord minor, I'd place the bottleneck at the 8th fret (E,G,C), which implies an Am7 chord.</blockquote>
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So I'd been in E tuning, and I'd look and think 'If I could just get this note' [the third string, one fret behind the slide, with the bottleneck at the 12th fret]. So I just ended up pressing it, and presto! I freaked out. It was just out of frustration. I could see the note-there it is- but didn't know how to get to it. Then it was like 'Wow, I never thought of that.'...Then I started thinking, 'Well, there's a lot <i>more</i> notes back there'. Hunt and destroy! I started finding the notes I could play and eventually worked into playing two at a time, chord melodies, minor keys, major 7ths, chord clusters."</blockquote>
One thing that always strikes me when re-reading these articles is how important formal musical training was for so many of the musicians, and Sonny Landreth was no exception. Interestingly, Landreth's musical schooling was <b>not</b> on guitar:<br />
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"Trumpet was my academic instrument. I studied it from 5th grade to my two years of college at University of Southwest Louisiana in Lafayette, and by the time I was in college I was also taking piano. I was really fortunate; I had good teachers. Studying trumpet influenced me a lot in the way I play guitar, because I think more like a wind instrument. I phrase like I'm taking a breath. Melody and phrasing have always been the things I'm into. Combining sliding and fretting adds another dimension, in terms of phrasing--and melody too. When you start fretting behind the bar, that's just another dimension. Once I went into that, I never came back. It opened up the door. Harmonically, it opened up so much.</blockquote>
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The jazz horn players I grew up listening to emulated the human voice, and that's always appealed to me as a guitar player. There's a vocal quality to their playing--like Louis Armstrong. I didn't start playing guitar until I was 13, and I could never read as well on guitar as I could on trumpet. But the theory I'd had really did help a lot, in terms of the positions and how it all related. I still consider myself a fairly primitive musician; I'm not like these studio players who can just go and read anything. It's a funny thing: on trumpet I could read, but I never could improvise; on guitar I could improvise, but I couldn't read very well. I never had the chops as comfortably on trumpet as I did on guitar. I could never just play from the heart, but I felt an immediate thing on guitar."</blockquote>
Amazing stuff, and if this guy at age 37 considered himself to be a "fairly primitive musician" then at nearly 48 I haven't even figured out how to bang the rocks together!<br />
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Tuck Andress was 35 years old in 1988, with years of professional experience but he was another genius who seemed to emerge fully formed from the pages of <i>Guitar Player</i> to blow my mind. Andress played in a duo with his wife, jazz vocalist Patti Cathcart; their duo was reminiscent of Joe Pass and Ella Fitzgerald, but with a more modern style. I immediately bought the Tuck and Patti album (it's in the playlist below) and was fortunate enough to see them play a concert about a year later (it's one of my most indelible musical memories). There's a concert video from around this time on YouTube which I've embedded below; I've set it to start before a solo number (because the camera does a great job showing Tuck's hands), but do yourself a favor and watch the whole show--it's so impressive!<br />
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The article was titled "A Private Lesson with the Amazing Tuck Andress--Radical Fingerstyle Jazz", and was written in the first person. It covers 14 pages (including several transcriptions), and it is hard for me to explain, but when I first read it, I basically didn't understand anything he was talking about! I mean, he's describing how he plays independent basslines with up and downstrokes of his thumb while playing chord stabs in the middle strings and melodies on the high ones, and I could barely play barre chords at the time! Now, decades later, I'm a pretty competent guitarist, but I STILL find this article baffling. There's no way that my brain works like Tuck's, and I'm ok with that.<br />
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That said, one thing that I can take away from this article is the value of practice and of perseverance. He frequently describes his experiences in ways that make clear that he was never far from the instrument (emphasis mine):<br />
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I reached the turning point when I realized that I had often been going for ideas at the expense of feel, trying to jam without enough foundation. So I began to shift my practice away from specific techniques and spontaneous jamming to very carefully worked out patterns designed to give me flexibility while maintaining carefully enforced feel. I began to practice single phrases, such as the one from "Everything's Gonna Be Alright" <b>for hundreds of hours</b> perfecting the feel. Now when I approach a tune that has multiple parts, I start by practicing each element until it feels great. Then I work on each possible pair of parts, until the feel is equally great, no matter how long it takes, and regardless of the weird combinations of techniques required to produce the proper feel. Next, I work on all combinations of three, and depending on the tune, four parts.</blockquote>
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Once I attain the correct feel, I work on developing as much freedom as possible. Improvising is particularly dangerous with solo funk grooves, because as soon as you change one element, the whole thing falls apart--just like when an inexperienced player has to start over after losing his place. <b>My solution to this problem is to identify the type of improvisation I want, and then devise exercises to promote flexibility</b>. Most of these involve alternate versions of the same tune, with one part varied. The rationale for this method is that if you work out enough variations, even if each requires starting from scratch, you'll gradually become freer. </blockquote>
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<b>Once I achieve feel and some freedom with a new part, I often discover that what sounds great at home is hideous in public</b>. For instance, at one time my best solution to a particularly troublesome section of Chaka Khan's "Ain't Nobody" involved <b>an intricate two-handed fingertapped texture, with the four parts (bass, backbeat, sustained keyboard part, and percolator-style muted single-note line) shifting between the two hands as often as every sixteenth-note and my hands crossing over each other several times in the space of two bars</b>. Combine the complexity of the part with my high action and almost total lack of right-hand fretting experience, and what I got was a piece that depended on everything going right, with no surprises--in other words, certain doom. <b>After blowing it on the gig for several nights, I went back to the drawing board. It took about six such trips to get a solution that actually worked</b>. </blockquote>
Where do I start with this? I mean, it's next level stuff, for sure. But while I can't imagine executing Tuck's musical vision, it's inspiring to see him describe multiple public failures ("blowing it on the gig") and his persistence to try to get it right. I think we can all relate to parts we've practiced that didn't work in front of an audience, and seeing the dedication with which Tuck Andress approached mastering his music is amazingly inspirational to me. As you may know, Andress is the uncle of Annie Clark, who is the amazing musician known as St. Vincent. I can only imagine that he was a great inspiration to her, as well.<br />
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Update: Tuck Andress wrote back to me on Twitter about this post--he said that he and Patti remembered the gig in the video above, but hadn't seen it before. How neat is that? By the way, go to the 12:00 mark of the video to catch them doing "Ain't Nobody". Tuck told me (I love saying that!) that the "rap" section is embarrassing, but it's pretty amazing to see him do it, and the audience seemed to dig it.<br />
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<a href="https://3.bp.blogspot.com/-Hh9nnGoIbmo/WuYwKAs2h6I/AAAAAAAACJg/oK7BtPueK1knJYntdQ989Dj5ZFipOO4TACLcBGAs/s1600/GP488JW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="400" src="https://3.bp.blogspot.com/-Hh9nnGoIbmo/WuYwKAs2h6I/AAAAAAAACJg/oK7BtPueK1knJYntdQ989Dj5ZFipOO4TACLcBGAs/s400/GP488JW.jpg" width="306" /></a>Joe Walsh was a 41 year old legend when this article was published. Just his work with the James Gang, or his solo records, or his work with the Eagles on <i>Hotel California </i>and <i>The Long Run</i> would have cemented his status. But of course he was also a great friend of other guitarists--it was Walsh who gave Jimmy Page his sunburst Les Paul, and Pete Townshend the Gretsch he used on <i>Who's Next</i>. Looking back on this three decades later, however, I realize that this article (which was in part promoting his new solo record <i>Got Any Gum?</i>) was not a valedictory piece, but one trying to show that Walsh was a mid-career musician who still had new creativity to share.<br />
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Jas Obrecht interviewed Joe Walsh for this cover story, and did his usual excellent job. That said, one thing that does <b>not</b> really come out in the article was Walsh's substance abuse issues. It wasn't until five years after this magazine came out that Joe Walsh achieved sobriety (which he has fortunately maintained ever since). I recently read Stephen Davis' <i>Gold Dust Woman</i>, a biography of Stevie Nicks, and learned that Walsh and Nicks had a long-term relationship in the mid-80's that ended right around the time of this article, in part due to Walsh's drinking. None of that is a part of the article, and maybe it shouldn't have been. But it does make me wonder what else was left unsaid in this interview (and how much that seems judgmental might have been said differently in a different headspace). Here are some highlights, followed by Walsh's description of what he considered to be the 12 greatest guitar solos of all time.<br />
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<i>Your soloing is very song-oriented. You always seem to be playing for the song rather than showing off your chops.</i></blockquote>
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Thank you. That's just the way I am. At this point, I am really a musician, besides being a guitar player. I hear a lot of things in a keyboard format. I hear a lot of tones and textures and such. I know I'm known mostly for my guitar work, but in terms of being a musician, there are other vehicles that I am quite capable of playing, and sometimes that ain't guitar. The song tells me what to play.</blockquote>
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<i>Do you have advice for people who find themselves overplaying?</i></blockquote>
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Yeah. In my experience, when you're playing in a big hall--a 10,000 seater or something--at some point the flashiness, playing incredibly fast, and being technically capable starts to be a blur. For example, Albert King can blow Eddie Van Halen off the stage with his amp on standby, even though technically Eddie Van Halen is probably the most overwhelming guitar player alive. You know, Eddie Van Halen can pretty much play circles around anybody existing. But Albert King can blow him away with two notes. I have nothing but respect for Eddie; I can't even comprehend what he does. But why would anybody want to play like that? After two or three solos it's a blur. Heavy metal is one format, and the important thing there is to really kick ass. It takes time, but after a while, you should just settle down and get your intellect out of the way and just let the guitar play itself.</blockquote>
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<i>What are your favorite Joe Walsh solos?</i></blockquote>
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I would think the overall guitar work in "Rocky Mountain Way", especially the talk box....Peter Frampton asked me how to use it and he went and got rich with it and never even thanked me....I'm very proud of the guitar work in "Hotel California". I pretty much had to deal with the planning and organization of that. Don Felder brought in the descending chord structure, so I can't say that I had anything to do with writing "Hotel California". I was commissioned as a specialist to arrange the order of the solos--who played what where, who went up high. It was tough figuring out how much momentum we needed compared to what we were going to end up with at the end of the song. When the solos start, it's just here we go, and it goes all the way to the end of the song. Felder is tremendously underrated.</blockquote>
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<i>What can you advise struggling musicians?</i></blockquote>
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Get out and play in front of other people. Otherwise, you can end up being a legend in your parents' basement. You could be great rehearsing, but when you get in front of people, you freeze up. You have to find out how to do it and how to fix your own stuff when it breaks.</blockquote>
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<i>Was there more of a cameraderie among guitarists back in the '60s than there is today?</i></blockquote>
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Yeah, a little bit more. The way I got to know most of the guitar players was at gigs. We would all be playing, and I would see people regularly because there were three- and four-act shows. But anymore with the economy and all, you don't see people unless you're on the road. Everyone is so darn busy. Back in the '60's the bulk of the jamming was backstage. While someone else was on, we'd get together and jam and warm up. It seems that now people don't get together....One of my bitches with LA is that people don't get together and sing old Beatles songs and work out harmonies and stuff. Everyone has <i>made it</i> and they're very busy or spoiled-rotten session men. </blockquote>
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It's not like the old days, and I miss that a lot. But I do see Townshend and Clapton from time to time, and it's always a pleasure....There's nothing like a good, old, couple-of-guitar-players jam to blow out the cobwebs.</blockquote>
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<i>What's the best band lineup you've ever worked with?</i></blockquote>
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The Eagles. That was a fine, fine band. We were a damn good band for awhile. I'm proud of having been a part of that and <i>Hotel California</i>. Besides the royalties and everything, jus the fact that that was a special album for a lot of people on the planet. I feel that I was part of a true band, and that we made a very valid musical statement for the generation that we represent. That makes me feel very good. </blockquote>
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Finally, as is often the case, reading the "Spotlight" feature on up and coming guitarists and bassists reveals someone I know now when they were just starting out. I've seen Larry Mitchell endorse a bunch of gear over the years, and have enjoyed his music solo and with others without remembering seeing this profile from 1988:<br />
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Pretty cool! I enjoyed re-reading this issue, and I hope you found it interesting. Stay tuned for next month's issue, featuring blues great Albert Collins on the cover--until then, keep on picking!</div>
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com1tag:blogger.com,1999:blog-428900226049233659.post-78356683353470692282018-04-01T11:38:00.001-04:002018-04-01T11:38:13.199-04:00My Back Pages: Thirty Years Ago in Guitar Player (March 1988)<div style="text-align: justify;">
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Welcome back to <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">"30 Years Ago"</a>, where I take a close look at the issue of <i>Guitar Player</i> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I can learn from re-reading so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue. <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">Click here to see all of the previous posts</a>!</div>
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In March of 1988 I was playing my new Epiphone Sheraton II along with my Peavey T-15 and newly acquired Fender Avalon acoustic, taking lessons with my GIT-trained teacher Jim McCarthy, and continuing to swim in a blend of music, from jazz on radio station WRTI, classic rock on stations WMMR and WYSP, pop and metal on MTV, country on The Nashville Network and Austin City Limits, and blues on a local radio station whose call sign I forget. The varied content in the March 1988 <i>Guitar Player, </i>featuring as it did articles on Chuck Berry, bebopper Rory Stuart, blues/world music/composer for movies star Ry Cooder, country bassist Emory Gordy Jr., and western swing legend Eldon Shamblin definitely would have appealed to my wide-ranging musical interests.<br />
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<a href="https://2.bp.blogspot.com/--lkTxT7xE6g/WsDoreoA0fI/AAAAAAAACHY/Pj5IQQJGtW4VwnX83_gJTn-OrtaCB-BiACPcBGAYYCw/s1600/GP88Cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="400" src="https://2.bp.blogspot.com/--lkTxT7xE6g/WsDoreoA0fI/AAAAAAAACHY/Pj5IQQJGtW4VwnX83_gJTn-OrtaCB-BiACPcBGAYYCw/s400/GP88Cover.jpg" width="306" /></a>I remember this issue pretty well; in fact I have a very clear memory of bringing it to school with me and reading it there. Re-reading it makes it clear that nearly EVERYTHING I know about Chuck Berry came from this issue; it is probably where I learned about western swing (though I know that I had at least one Asleep at the Wheel record, so that might not be totally the case). I know that this might be one of the first issues that I kept re-reading (mostly for the Chuck Berry parts-- all of which are heavily underlined, starred and otherwise marked up by yours truly) and remember taking it to one of my lessons. That day I showed the Berry article to my teacher, who pulled out several mimeographed basic rock lessons from GIT and gave them to me to study (they are still in my music folder to this day, very well thumbed).<br />
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In 1988 Chuck Berry was 62 years old, only three decades removed from the prime of his career (hard to imagine that!) and coming off a mini-renaissance highlighted by the publication of an autobiography and the movie "<a href="https://en.wikipedia.org/wiki/Hail!_Hail!_Rock_%27n%27_Roll">Hail Hail Rock n Roll</a>", where Keith Richards put together an all-star band (including Chuck's piano collaborator from the '50's Jonnie Johnson) to give Berry a chance to play with competent musicians, as opposed to the local pickup groups specified in his contract riders. Of course with Berry's death last March (29 years after this article) it feels even more appropriate to learn more about the father of rock guitar.<br />
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The late Tom Wheeler wrote the feature based on his interviews of Berry, and it is a really terrific piece of writing:<br />
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"Chuck Berry came motorvatin' over the hill in the summer of '55, his Gibson ES-350T blaring and clanging like Maybellene's roadhog Coupe de Ville. It was one of the most compelling and enduring images in pop culture: the loose-jointed, duck-walking hipster with the low-slung guitar, the happening threads, the wicked gleam in his eye.... </blockquote>
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<a href="https://1.bp.blogspot.com/-Vtd81cqG7Do/WsDvopPYVjI/AAAAAAAACHk/u-Ey9lGzI8YG9W0Y41wPFnZgJxmzDX-dQCLcBGAs/s1600/GP88-Chuck.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1177" height="400" src="https://1.bp.blogspot.com/-Vtd81cqG7Do/WsDvopPYVjI/AAAAAAAACHk/u-Ey9lGzI8YG9W0Y41wPFnZgJxmzDX-dQCLcBGAs/s400/GP88-Chuck.jpg" width="291" /></a>Early rock's foremost singer/songwriter, Chuck wrote classic two-and-a-half-minute novellas of churning hormones and rock fever. In Berry's America, street-savvy hepcats tooled around in cherry-red jitneys and coffee-colored Cadillacs, chasing after sweet little rock and rollers such as Nadine, who moved around like a wayward summer breeze, or Little Queenie, lookin' like a model on the cover of a magazine. A percussionist of sorts who used syllables instead of drumsticks, he fashioned his lyrics into a sly, jivey poetry that percolated with its own gimme five lingo: motorvatin', coolerator, botheration---and pulsed with irresistible rhythms.... </blockquote>
<blockquote class="tr_bq">
And even if his writing, singing and stylistic alchemy had not already secured him a place on rock's Mount Rushmore, Chuck Berry would be celebrated today for his guitar playing alone. His style was innovative in its sound and technique, and its ringin'-a-bell tone, jolting syncopations, slippery bends and whole new vocabulary of double-stops simply changed the way the instrument is played... </blockquote>
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At 61, Chuck Berry is a formidable presence, his lean body still moving with the grace of an athlete, his eyes still twinkling with the mischief of a rakish Hollywood leading man. He is at once a tough hombre and a gracious gentleman, obsessively private one moment, expansive and personable the next. Traveling alone and using pick-up musicians who are often under-rehearsed, he is self-contained: singer, songwriter, guitar player, legend... </blockquote>
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A few years ago, US spacecraft Voyager was blasted into deep space, past Jupiter and Saturn and on towards Neptune, four billion miles from St. Louis, Missouri. On board are recorded greetings to anyone who might encounter it. Among the messages representing planet Earth is a recording of "Johnny B. Goode", lending new meaning to the phrase "long live rock and roll". Maybe some day countless millennia from now, across the universe, some unimaginable alien thing will be snapping its fingers (or whatever) and grooving on the ancient tale of the country boy that could play his guitar just like ringin' a bell.</blockquote>
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Good stuff! The interview was quite interesting, especially as it helps one to understand the mindset of a struggling musician, nearing 30 years old and frustrated by his day job as a hairdresser who did whatever he could to become a success. And of course the racial issues faced by a black musician who became popular with white teenagers are never far from the surface. I know that when I first read the interview I was most focused on learning about guitar technique and Berry's influences, but re-reading it, I am struck by more "social history" parts of the interview:<br />
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Q. <i>Do you see two distinct sides to your music, the rock and the blues?</i><br />
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A. Well, things like "Johnny B. Goode" and "Carol", those were for the mass market. "Wee Wee Hours", that was for the <i>neighborhood</i>. But this isn't a black/white thing. That irks me. There's no such thing as black and white in music.<br />
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Q. <i>In May '55 you were doing some carpentry and studying cosmetology; three months later your first record was #5 in the Hot 100 and #1 on the R&B chart. How did the almost literal overnight success change your life?</i><br />
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A. The only thing it changed was my determination to follow through as long as it could go.. My lifestyle did not change one bit. I had been saving 80% of my income as a carpenter, and saved 80% of my income as a musician.<br />
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Q. <i>Was fame what you had expected?</i><br />
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A. No, because I didn't expect it! I was making $21 a week at the Cosmo, and it went to $800 a week after "Maybellene". I didn't give a <i>shit</i> about the fame, and you can print that! Still don't. The only thing I cared about was being able to walk into a restaurant and get served, and that was something I should have had anyway, <i>without</i> all the fame. See this was 1955, and [civil rights] marching and things were about to start. I liked the idea that I could buy something on credit and the salesman knew I could really pay for it. I could call a hotel and the wouldn't automatically offer me the economy rooms after hearing how my voice sounded. <i>That</i> I admired.<br />
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For all the social history, there is a <b>lot</b> of music and guitar detail in the Berry feature, which spreads over 17 pages of the magazine. The section "Chuck Berry, the records", breaks down guitar highlights from 20 of Berry's classics. For "Carol" (my personal favorite Chuck tune), they promise "next month, <i>Guitar Player</i> will present an in-depth article, with transcription, exploring the intricacies" of the song. Unfortunately, that promised article never materialized, and I've always wondered why. There's also several good pictures of Chuck's guitars including the bit of proto-gear porn below:<br />
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Another guitar legend who helped create the vocabulary for an entire genre was Eldon Shamblin, who played lead guitar for Bob Wills and the Texas Playboys. The profile of the then 72-year old was very informative. I learned a lot about Texas swing and other music that I enjoyed when it would be on TV's Nashville Network or (more rarely) on a radio show. Gear wise, dig the guitar Eldon is playing: a gold-finished 1954 Stratocaster with chicken-head knobs given to him by Leo Fender himself. According to the article the Texas Playboys were used by Fender to road test his early equipment. In 1954 while visiting the factory,<br />
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"Leo said, 'Hey-we're coming out with something. Why don't you take this? Just it and try it. If you don't like it, you can bring it back.' I found I liked it...I've tried other Fenders but I can't find one that compares to this one for rhythm. I have never found one like this. I read in <i>Guitar Player</i> that mine was the first metallic color Fender ever put out. Everything is original--controls, frets, pickups, everything." </blockquote>
Pretty cool! Also neat was to read that he blocked off the tremolo and used heavy strings, two things that I eventually did with my own Strat (a metallic pewter colored ax) when I got it in 1990, but that's a story for another day.<br />
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The article with Ry Cooder was interesting to me for a lot of reasons. First of all, as a young blues fanatic, the movie <i>Crossroads</i> --where <i>Karate Kid</i> Ralph Macchio basically recreates that movie in a blues guitar context (young classical guitarist Eugene secretly loves the blues and Robert Johnson; he helps Willie Brown break out of an old-folks home and they go down south to the crossroads in Mississippi where Eugene battles the devil's guitarist, played by Steve Vai, for Brown's soul) was a favorite of mine, one that I saw twice in theatres and several more times on cable. It's simultaneously terrible and amazing! Even at the time I was uncomfortable with how Eugene wins the head cutting contest by replacing the blues with Paganini, but it's still a cool scene:<br />
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I know that the showdown between Vai and Macchio is still frequently discussed on internet guitar forums, so here is Ry Cooder's description of how the scene came to be. It's a neat glimpse behind the scenes:<br />
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I enjoyed re-reading this issue, and I hope you found it interesting. Unfortunately I've been dealing with a nerve issue that makes typing difficult, so I haven't gone into as much depth as I could have. March 1988's <i>GP</i> was a really interesting issue, and April's was even better, featuring articles on Joe Walsh, Tuck Andress and others. More on that next time--until then, keep on picking!</div>
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-9738349991164291112018-02-24T20:17:00.003-05:002018-02-24T20:41:03.469-05:00My Back Pages: Thirty Years Ago in Guitar Player (February 1988)<div style="text-align: justify;">
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Welcome back to <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">"30 Years Ago"</a>, where I take a close look at the issue of <i>Guitar Player</i> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I can learn from re-reading so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue. <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">Click here to see all of the previous posts</a>!</div>
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<a href="https://www.onthisday.com/history/date/1988/february">February, 1988</a> seems to have been a relatively quiet time, but some noteworthy events took place. It was the month when televangelist <a href="https://en.wikipedia.org/wiki/Jimmy_Swaggart">Jimmy Swaggart</a> (cousin to musicians Jerry Lee Lewis and Mickey Gilley) <a href="http://www.americanrhetoric.com/speeches/jswaggartapologysermon.html">confessed his sins</a> (consorting with prostitutes), and Anthony Kennedy joined the Supreme Court, which <a href="https://en.wikipedia.org/wiki/Hustler_Magazine_v._Falwell">ruled 8-0 against televangelist Jerry Falwell</a> in an important case upholding First Amendment rights. Guitar-wise, I was playing my new Epiphone Sheraton II, taking lessons with my GIT-trained teacher Jim McCarthy, and continuing to swim in a blend of music, from jazz on radio station WRTI, classic rock on stations WMMR and WYSP, pop and metal on MTV, and blues on a local radio station whose call sign I forget.<br />
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Revisiting the February, 1988 <i>Guitar Player</i> was an interesting experience. It features the wide diversity in genres that I am getting used to seeing, but the focus was largely on artists just breaking through on a national level. In addition to the cover story on Joe Satriani (supposedly his first ever on a national magazine), there was a very interesting triple profile of bluesmen Charlie Baty, Ron Thompson and Anson Funderburgh; features on Yellowjackets bassist Jimmy Haslip, classical legend Christopher Parkening and studio/sideman extraordinaire Kevin Dukes as well as a number of interesting lessons and gear reviews. Re-reading it now reminds me how comparatively narrow guitar magazines are now; not just in terms of genre but in terms of the relative fame of the musicians covered. While Satriani's <i>Surfing with the Alien</i> had just come out and was getting chart success, most of the other musicians featured were far from what one would call "popular".<br />
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The triple profile of the blues guitarists by editor Dan Forte is an interesting example. 15 pages (out of a very sizable 186) are devoted to three musicians who combined had probably not sold more than 250,000 records. The article purports to introduce "the new breed of young bluesmen", frontmen of Little Charlie and the Nightcats, Ron Thompson and the Resistors, and Anson Funderburgh and the Rockets. As a teenager I probably would have just focused on "new breed" and "young", but re-reading the article makes it clear that all three had been working musicians for a long time; Baty says he's been a professional "for 12 or 13 years", Thompson had been playing in clubs since his mid-teens, and Funderburgh was a 33 year-old Dallas contemporary of Jimmie and Stevie Ray Vaughan, and had led the Rockets for "almost 10 years".<br />
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The articles had some good information about gear: Baty (despite being pictured with a Strat) extolled the virtues of his P-90 equipped 1950's ES-150 and Fender Super Reverb; Thompson discussed the differences between his ES-175 and a Strat and why he preferred the Gibson for slide ("you can plug into anything and it's gonna sound good") and Funderburgh relied on the tried and true Texas blues recipe of Strat through Vibrolux, but had one of the most valuable tips in the article. When Forte asked what the secret was "behind his remarkable range of tones":<br />
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"Funderburgh smiles: 'I think my tone and knowing when and when not to play are my best points. I've always been a firm believer in leaving people wanting a little bit more. If you play everything you've got, there's nothing left. I'd hate to be like Stevie (Vaughan) and have to come out there and scald every night. I think tone is something that maybe comes through years of playing; you kind of develop into your own style. It's all in the touch....the control, where you place your hands, the attack, where you strike the string. "</blockquote>
This is really good stuff that might not be as readily apparent nowadays when so few options for live music exist, and most guitarists are playing in their bedrooms or on YouTube (where restraint isn't valued). Funderburgh also made a point of putting over Ronnie Earl, who was the player responsible for my own tone revelation when I saw him live in 2001. In Funderburgh's words:<br />
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"Ronnie Earl really plays from the gut, and I'll guaran-damn-tee ya, there's something that I try to do, and all those guys try to do, and Ronnie is really good at it: He may mess up, but he gets up there and tries to say something every time he plays....If you try to say something every time you play a solo and think about the song and try to get something across--that's what it's all about."</blockquote>
In November of 2016 I went to a blues concert at <a href="https://www.buzandneds.com/">Buz and Ned's, a local BBQ restaurant in Richmond, Virginia</a> featuring harmonica player Mark Hummel backed by Charlie Baty and Anson Funderburgh. It's both inspiring and humbling that more than 28 years after this article 2/3rds of the subjects were traveling in vans, setting up their own equipment, and roaming the country to play their music before small, appreciative audiences. It was a good show, and after re-reading this article I tip my hat again to real musicians who just HAVE to play.<br />
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One of the most enjoyable parts of re-reading these old issues is being able to appreciate the careers of band members, sidemen, studio hotshots and others who were never headline stars but who were significant contributors to the music world. One example is Kevin Dukes, who earned 10 pages in this issue, hailed as "Sidemaster with Billy Joel, Boz Scaggs and Jackson Browne". The article starts with strong compliments from Browne, who hired Dukes to play lead on his 1985 world tour (a great example of which can be found in this video below):<br />
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"My records had featured some distinctive players, including Steve Lukather, Gary Myrick and Rick Vito, and I needed someone who could fill their roles. I also needed a sideman who could reproduce some of the old sounds with the fluidity and emotion that characterizes David Lindley's work with me. Kevin has the technical ability to play all of their parts and make them sound like his own."</blockquote>
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This article, by the evocatively named Vic Trigger uses Dukes' "burgeoning career" to show that "the professional rock scene has evolved a new breed of chameleonic guitarist: a journeyman who prides himself on the art of mimicking other players with recording-quality proficiency." Dukes, who grew up in Mississippi was a graduate of GIT (like my teacher) who used his (pre-internet!) ability to recreate artists' tones to get gigs with Scaggs, Browne and Don Henley, as well as lots of tv show work, including a year as the guitarist for the Alan Thicke talk show. His versatility is a good reason for his choice of a hallmark of 1980's LA guitar, a Charvel. The article notes that "Kevin observed that most of his peers were playing Strat-style guitars."<br />
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"I broke down and got a Charvel Strat-style with a Floyd Rose and Seymour Duncans. Strat-style guitars are the most versatile instruments for the money, because you can go back and forth from pseudo-Gibson sounds to pseudo-Fender sounds."</blockquote>
17-year old me was pretty unaware of the differences in tones between different kinds of guitars, but now that I have so much more experience, this makes so much sense and I understand the "super Strat" phenomenon better. Speaking of gear, check out the Fender Telecaster with Floyd Rose that Jackson Browne strums in the concert video--did he put that on just for tuning? And by the way, Dukes' playing is terrific.<br />
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Joe Satriani was the cover star of this issue, in a 16 page article by Jas Obrecht, including a vinyl flexidisc soundpage (with transcription). Satriani is, of course, one of the most famous rock guitar instrumentalists, organizer of the G3 tours which have attracted legions of (mostly male) attendees for two decades and the inspiration of numerous signature guitars (Ibanez), amps (Marshall), and effects pedals (Vox). <a href="https://www.premierguitar.com/articles/26665-joe-satriani-dont-even-think-about-it">Joe was featured in the February, 2018 <i>Premier Guitar</i></a>, showing that he has more than maintained his pre-eminence over the last three decades.<br />
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Re-reading this article, when Joe Satriani was just bursting into the public's consciousness is really neat. Like the other musicians profiled in the issue, he was hardly a "new" musician, having worked hard to eke out a living with his guitar while still persisting in developing his style. It's interesting to contrast Satch to Kevin Dukes, who found the path to success in music through "chameleonic" interpretations of other artists. According to Obrecht, Satriani studied jazz with Lennie Tristano in 1975, then "struck by wanderlust, he then explored LA and Japan before settling in Berkeley, California in 1977. From 1979 through '84 he played with a much-heralded, but ultimately unsigned power-pop trio, the Squares."<br />
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The Squares?! This would have meant nothing to me in 1988, but now, with the power of <a href="https://www.youtube.com/results?search_query=the+squares+joe+satriani">YouTube, it's easy to hear some of their songs</a>, and that was a hot band, with a guitarist who was clearly bursting at the seams with creativity. Obrecht then details Satriani's self-produced and financed eponymous EP in 1984, followed by <i>Not Of This Earth</i> in 1985. But we have to interrupt the tale of his inexorable rise to success with <i>Surfing With The Alien</i> for some important work to keep the lights on:<br />
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"While awaiting the release of <i>Not Of This Earth,</i> Joe joined the Greg Kihn Band for its 1985 <i>Love And Rock And Roll</i> LP and tour. In other studio projects he collaborated with drummer Tony Williams, worked on commissioned pieces for PBS, Dole Pineapple, and Otari, and sang backup vocals for Crowded House. Most recently, he co-produced Possessed's EP <i>Eyes of Horror</i> and sight-read a solo for drummer Danny Gottlieb's <i>Aquamarine</i>."</blockquote>
Wow. That is quite a busy year (and I would LOVE to hear those background vocals!), and perhaps it explains Joe's answer to the question "what's your favorite part of playing?": "Being paid!"<br />
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This is a typically excellent interview piece by Obrecht, who asks great questions to bring out the most in his subject. The theme here is of an instrumental genius finally getting his due and it's really good to re-read. The following are some of my favorite passages:<br />
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<i>Q. Does it bother you to see less inventive players achieve broader success than you have?</i></blockquote>
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No. I don't feel competitive with other guitar players. Over the years, I see both success and failure as imposters. They cannot be what you use for your standard operating procedure for how to write music, for how to play.</blockquote>
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<i>Q. Did timing come naturally, or did you teach yourself?</i></blockquote>
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I taught myself. Timing is natural, but you have to practice it and work at it to convince yourself that it's there. When I was a young kid listening to the Beatles and the Stones, I didn't say "Boy, he could have played groups of three there!"I wasn't thinking of that. But once you get exposed to that, you can feel things like groups of five. You'll like them, and you may use them with discretion and taste. I think I learned a lot from the timing of other people--Hendrix, Stevie Wonder or Larry Graham. I listen back and say "Yeah, they're late here, and they're early here, and that creates a sound." Some people push the beat when they are creating a certain kind of a song, some people drag, some people go right in the pocket. As your sense of time gets better, the idea of the beat becomes this huge circle and you see that you can play with it and use it as a tool to get a song to come off a certain way and evoke a certain emotion, especially with bass.</blockquote>
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<i>Q. Is there an inherent mood in every key and scale?</i></blockquote>
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Not just one. In the hands of an artist, what you can do is almost limitless. I definitely operate on that assumption. I've heard so much beautiful music done in major keys, and yet very little of it is in heavy rock, exploratory jazz fusion, or whatever you want to call what we're doing.... One scale can sound a lot of different ways, and I've really tried to work with that on the last two records. With "<a href="https://www.youtube.com/watch?v=VI57QHL6ge0">Always With Me, Always With You</a>", I tried to use those major scales to be tender and sharp and haunting and a whole bunch of things. </blockquote>
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<i>Q. Do you imagine a melody before finding it on guitar?</i></blockquote>
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Yes. It's like it comes to me; I hear it being laid out. But I do spend quite a lot of time editing. I edited the hell out of "Always With Me..." because I was intrigued with how beautiful it was. I wanted the song to start with a melody, go into a slight improvisation, give a countermelody, go back to the original melody, do another little improvisation and return to the melody. I wanted to be as cool as the sax player you see in a nice jazz club where there is a bassist, a piano player, and a drummer with brushes. And this guy just stands up with his sax, plays the melody, and the song is over. No big rush, no ego solo, no exploding things. ...I had to find that sort of player in me, those sensibilities, and then figure out the technique. </blockquote>
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<i>Q. You must have had a lot of self-assurance to finance your own album with a credit card.</i></blockquote>
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It was a sign from God. I wanted to do a project, and the company mailed the card to me. It was completely at random: "Mister Satriani, you have been selected because of your..." So this little light bulb went off in my head...</blockquote>
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<i>Q. Do you have any special guitar setup tips?</i></blockquote>
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I like to use just two springs in the back of the guitar. They are very tight, and they go straight across the outside positions. I routed out just a little bit more wood for the Floyd Rose, just because I like it more flush...My tone control is disconnected. When I pull up on that knob, it engages a bass roll-off; when the knob is down it's inactive. That's just the way it's set up now. We've been doing up-to-the-minute modifications on it....I like a neck...like an early '60's Stratocaster. I don't like high frets; I like them quite low so I can apply different kinds of pressure to the strings to get different tone qualities and nuances of intonation. </blockquote>
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<i>Q. Do you have any suggestions for guitarists who want to explore different styles?</i></blockquote>
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Yes. Let's say you're a heavy rock player who is wondering about blues or soul. Get a 4-track tape recorder, because we are in the age of recording, and people's sound is built around their records. Put down a mock soul piece and retain your personality, but try to go with the track and pick out lots of different things...just work on it until you find your own voice in that particular form of music.</blockquote>
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<i>Q. Were you experimenting with fingertapping before Van Halen came along?</i></blockquote>
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Sure. Oh there were a lot of people who were. But I'm a huge Van Halen fan. When I first heard their first record, I just loved it. It was great...Eddie put together that little two-handed hammer-on thing in such a great way. It was so gutsy! It wasn't progressive rock; it was really a go-for-the-throat kind of thing...Eddie must be definitely crazy, and I like that. </blockquote>
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I enjoyed re-reading this issue, and I hope you found it interesting. The reviews of recent music didn't have quite so many "big" artists, but there was a short review of Chuck Berry's autobiography. But more on that next month, when Chuck was on the cover of the March, 1988 issue. Also, I hope you join me in sparing a thought i<a href="https://www.dailyemerald.com/2018/02/11/remembering-tom-students-colleagues-mourn-journalism-professor-tom-wheeler/">n memory of Tom Wheeler</a>. Wheeler was the editor in chief of <i>Guitar Player</i>, and founder of <i>Bass Player</i> as well as a longtime professor of journalism. He was a major reason for the excellence of the magazine I've been trying to share with you, and he'll be missed.<br />
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I'll see you here next month; until then, keep on picking!</div>
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-83141989650141162072018-01-28T09:32:00.000-05:002018-01-28T09:48:43.486-05:00My Back Pages: Thirty Years Ago in Guitar Player Magazine (January 1988)<div style="text-align: justify;">
<a href="https://4.bp.blogspot.com/-CZZ1TQ87RM0/WLbL9Z130EI/AAAAAAAABsw/CJGBKLh8_zEJzGiyA5LPk_IzmDwuqjm7QCPcBGAYYCw/s1600/GP304.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br class="Apple-interchange-newline" /><img border="0" data-original-height="811" data-original-width="1600" height="162" src="https://4.bp.blogspot.com/-CZZ1TQ87RM0/WLbL9Z130EI/AAAAAAAABsw/CJGBKLh8_zEJzGiyA5LPk_IzmDwuqjm7QCPcBGAYYCw/s320/GP304.jpg" width="320" /></a>Welcome back to <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">"30 Years Ago"</a>, where I take a close look at the issue of <i>Guitar Player</i> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I can learn from rereading so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue. <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">Click here to see all of the previous posts</a>!</div>
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Welcome also to 1988! This was a landmark year for me: I graduated high school, moved to college, met my future wife, and joined my first band in 1988. I look forward to revisiting this time period with you.<br />
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January is a time of beginnings, and <a href="https://www.onthisday.com/date/1988/january">some of the highlights of January, 1988</a> include the <a href="https://en.wikipedia.org/wiki/Royal_Rumble">first Royal Rumble</a> for the (then) World Wrestling Federation, the <a href="https://en.wikipedia.org/wiki/The_Phantom_of_the_Opera_(1986_musical)#Broadway">Broadway debut of Andrew Lloyd Weber's <i>Phantom of the Opera</i></a> (which my theatre friends and I were obsessed with), and Vice-President <a href="http://www.mrmediatraining.com/2011/07/08/fridays-classic-clip-george-h-w-bush-vs-dan-rather-1988/">George Bush's Presidential career got a boost with his antagonistic interview on CBS news</a> (I watched this live!) when he seemingly vanquished his reputation as a "wimp" by refusing to answer questions about his role in Iran-Contra. Unfortunately it was also a time for some noteworthy deaths, including <a href="http://acepilots.com/usmc_boyington.html">Greg "Pappy" Boyington</a>, who was <a href="https://en.wikipedia.org/wiki/Baa_Baa_Black_Sheep_(TV_series)">portrayed by Robert Conrad on TVs <i>Black Sheep Squadron</i></a> (a favorite of my military-obsessed friends and mine), basketball star <a href="https://en.wikipedia.org/wiki/Pete_Maravich#Later_life_and_death">Pete Maravich</a>, who was only 40 when he died playing a pick-up basketball game as a result of an undiscovered, congenital heart defect. Guitar wise, I was digging my new Epiphone Sheraton II semi-hollow and trying to progress musically with my GIT-trained teacher Jim McCarthy and my high school "Music Theory I" class.<br />
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<a href="https://4.bp.blogspot.com/-0wa3uRR00zw/WmylHZvYSVI/AAAAAAAACB0/6Jtys_uP7mwXyn4JmMRqDSUFRTFspOkKQCLcBGAs/s1600/Jan88cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="400" src="https://4.bp.blogspot.com/-0wa3uRR00zw/WmylHZvYSVI/AAAAAAAACB0/6Jtys_uP7mwXyn4JmMRqDSUFRTFspOkKQCLcBGAs/s400/Jan88cover.jpg" width="307" /></a>The January, 1988 issue of <i>Guitar Player</i> was chock full of interesting content. The cover touted the return of Lynyrd Skynryd to touring a decade after the devastating plane crash the band experienced in 1977, as well as interviews with Carlos Santana, Richard Lloyd, Omar Dykes of Omar and the Howlers, and a review of the amp now known as the Fender "Evil Twin". Inside the issue, the Spotlight section touted a young guitarist from Easton, PA named Greg Howe, a short interview with Steve Katz yielded a remarkably interesting trivia factoid, and there was a flexidisc recording of Carlos Santana playing "Blues for Salvador".<br />
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I doubt that I paid much attention to the interviews of producer Steve Katz (late of the 1960's group The Blues Project and co-founder of Blood, Sweat and Tears), and guitarist Richard Lloyd (late of 1970's group Television) since I wasn't interested in record production at the time, and I was totally unaware of Lloyd (who I didn't really grok until he contributed fiery leads on 1992's Matthew Sweet record, <i>Girlfriend</i>. This was a mistake, because I missed out on some good stuff. Katz described his techniques for live recording (one highlight, separate tracks for live amp and direct signal for guitarists) and related a very interesting fact about <a href="https://www.youtube.com/watch?v=sJYu9Rl_23Y">Lou Reed's <i>Rock n Roll Animal</i></a> (now one of my favorite live albums, totally unknown to me at the time). In Katz' words:<br />
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"During the recording of <i>Rock n Roll Animal</i>, a trumpet player friend of mine came back to the remote truck and almost fell over the 2" tape machine. Very few people know this, but we lost half the applause to that concert. The audience noise on that record is actually from a John Denver concert that RCA had in its vaults!" </blockquote>
How about that! The interview with Lloyd touts his live record "Real Time" (for which Katz was the producer), recorded at New York's CBGB club. If you haven't heard it--check it out in this month's Spotify playlist--killer songs! Lloyd comes across as an enthusiastic devotee of the guitar, and I definitely plan on listening to more of his records having re-read this interview. Some of the best quotes are:<br />
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"A Stratocaster is a guitar you can make a <i>fist</i> around. A Strat <i>asks</i> you to play a certain way; it demands a certain grasp. It's just the way the neck is shaped, I guess. That kind of neck is really conducive to a certain kind of string bending that you can't get on most guitars; it's a really narrow neck with a slightly curved fretboard. And one of the first things I was told, and that I've held on to, is that what makes the electric guitar a special instrument is the bent note."</blockquote>
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"When I was in junior high I was at this guy Zeke's house and he said there was somebody coming over who said he knew Jimi Hendrix. Everybody laughed. I mean, we were <i>kids</i>; who could know Jimi Hendrix? Hendrix was, like, somebody from outer space. Well, this guy's name was Velvert, and it turned out he was one of Jimi's best friends; Jimi called him his 'little brother'....Jimi was trying to teach Velvert things in a mirror, and Velvert would show me that stuff second-hand, But at the time I couldn't really play the guitar, so there's very little that I got from Jimi, except energy. My playing isn't like his at all, in terms of phrasing and turnarounds. But what he did for the electric guitar, historically was just awesome. </blockquote>
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I just listened to that "Live at the Winterland" CD recently, and it reminded me of why I've played guitar for 20-odd years. Here's this cat, running hard with the guitar, and I saw it. I started chasing him and I'm <i>still</i> chasing him and I <i>still </i>haven't caught up with where was back then. But that's okay. There are 50 million guys who are more technically proficient than I am, but there's something special about putting your heart and soul on the line the way Hendrix did, and I believe I've got some of what he had, in that sense."</blockquote>
Interestingly, Lloyd recorded a record in 2009 called "The Jamie Neverts Story", on which he cuts his own versions of several Hendrix classics. It's also in the playlist below if you want to check it out. <a href="https://www.guitarworld.com/features/richard-lloyd-scuse-me-while-i-hit-guy">This contemporary article from <i>Guitar World</i></a> indicates that Lloyd has had some troubles in his life, but also sheds light on his more recent recording approach.<br />
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<a href="https://usercontent1.hubstatic.com/8252134.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="349" data-original-width="293" height="320" src="https://usercontent1.hubstatic.com/8252134.jpg" width="268" /></a>I wish I could have included the picture of Carlos Santana from the article in this magazine, but I cut it out and hung it on my bedroom wall back in 1988! Carlos was joined with Eric Clapton, Mark Knopfler and BB King on my personal wall of fame. Sadly, not only is the picture missing, but so is a full page of the interview. In retrospect I should have cut out this ad instead...oh well. This was the first of many interviews I've read from Carlos, and his earthy spirituality and deep sense of the power of music have never failed to inspire me.<br />
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Jas Obrecht wrote the Santana piece, so that already tells me to expect an in-depth interview that covers all aspects of the musician's approach. The article starts with Carlos walking into the Record Plant studio (boldface is my emphasis):<br />
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"Remember when we used to go see a band in the '60s? You'd see Wes Montgomery play at the Matador from 9:00 to 1:00, and then you'd follow him to another funky club on the other side of town, and he would play there until 4:00 in the morning. Well, that's the kind of feeling I'm trying to get lately on certain ballads. It's funny, because 4:00 in the morning is 4:00 in the morning. What do you do at 8:00 at night? How do you capture that after-the-party feeling? It's challenging. Somebody from the Grateful Dead said to me 'When music starts playing you, don't play music anymore,' which makes a lot of sense. Music starts playing itself through you, instead of you having to make it happen."</blockquote>
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<i>You're one of the few guitarists who is instantly recognizable. Why is that?</i></blockquote>
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"It's an accumulation of a lot of things man. My love for John Coltrane and his tone. My love for B.B. [King] and his tone, or Aretha [Franklin]. All the things that my father passed on to me. My father is a musician; he taught me everything I know on the guitar, as far as technical chords and stuff like that goes. His father before him was a musician, and my grand-grandfather was a musician. <b>The main thing is the <i>cry</i>.</b> It's not whining. You know, sometimes you go to a funeral, and maybe the guy wasn't such a good guy, but people still want to say something nice about him. Well, the tone in the music I'm trying to write now is for people to learn to let go gently and quietly. It's to enhance the beauty that, let's say, Jaco Pastorius had. I immediately erase all the <i>National Enquirer</i> stuff out of my mind, so all I remember is the great times I had with Jaco Pastorius when we did get to jam and spend some time together. <b>That's what I'm trying to do with the tone. It's the cry of exalt the elegance in humanity</b>. </blockquote>
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Santana goes on to answer questions about gear, and his preference for tube amps and triangular-shaped picks (this might be where I started using those kinds of plectra) and his trick of using pencil lead to lubricate the guitar's nut (which I also do). The discussion of tone leads Carlos to praise Eric Johnson as having "the best sound I've heard lately":<br />
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"He had the most beautiful tone all the way around. It was very, very masculine, and round and warm and dark. And his playing is great, man. I'd like to record with him someday, because he is very pure. You can tell what people have in their eyes--malice, expectations, the beauty of things, this or that. With Eric it's 'OK, I've got my tone and my vision and that's enough. The Lord will provide the rest.' He has a beautiful soul. Even though he is from Texas, he doesn't have the gunslinger mentality 'I'm going to kick your butt with my gun.' When we jam, we both complement each other, which is what musicians are supposed to do. Eric is somebody who should be playing with Joe Zawinul, Miles Davis and people like that."</blockquote>
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Carlos later explains his vision of something that is more than "mortal music", beginning with a discussion of his regret at never playing with Bola Sete:<br />
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"Mortal music deals with my baby left me, I can't pay the rent or whatever. <b>Bola's music tells you that inside we have roaring cosmic lions and that we're elegant and beautiful</b>. His music enhanced the beautiful side of humanity to a supreme extent....If I was going to a Santana concert, what would I want? I want joy and a lot of vitality. I want the spirit of when a pastor tells you something really precious at church that applies to your life--something that's not condemning you or making you feel like you should apologize for being a human being. <b>Whether in a cry or in a party atmosphere, the music should exalt humanity and the spirit of humanity, which is the Lord</b>. That's enough, because anything else will be the crust. This is the real pure water. </blockquote>
Later in the lengthy interview, Obrecht asks several questions about what kind of advice Santana would give to young musicians and other guitarists. The answers are, as you probably can expect by now, flowing and expansive:<br />
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"My son is four-and-a-half years old, and he's already asking me, 'Is Jimi Hendrix badder than Michael Jackson?' <b>First of all, I would just give him heavy doses of John Lee Hooker, Muddy Waters, Jimmy Reed and Lightnin' Hopkins for two or three years. Once I feel that he's got that combination, then I'll say Muddy Waters is the Miles Davis of Chicago, and Little Walter is the John Coltrane</b>. By the time my son is listening to something like 'A Love Supreme' by John Coltrane, he would have understood the order all the way from Django Reinhardt to Charlie Christian to Wes Montgomery. I want him to understand the order, because <b>I don't want my son to be fooled by fool's gold. And there is a lot of it out there for kids, a lot of flash and guys who have the right poses for the right strokes on the guitar. But that stuff doesn't cut it when you really know how to play, and you put the note where it's supposed to be. I want to teach my son not to fake anything, but to earn it</b>. "</blockquote>
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"I saw Jimi Hendrix two or three times in person. The first time I was with him was a real shocker. He was in the studio overdubbing "Roomful of Mirrors". He said 'Okay, let's roll it,' and started recording and it was incredible. But within 15 or 20 seconds into the song he just went out. All of a sudden the music that was coming out of the speakers was way beyond the song, like he was freaking out having a gigantic battle in the sky with somebody. It just didn't make any sense with the song anymore, so the roadies looked at each other, the producer looked at him, and they said 'Go get him'. I'm not making this up. They separated him from the amplifier and the guitar, and it was like he was having an epileptic attack.<b> I said 'Do I have to go through these changes just to play my guitar? I'm just a kid!'</b> When they separated him, his eyes were read and he was almost foaming at the mouth. He was gone.</blockquote>
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<b>To me, it was a combination of the lifestyle--staying up all night, chicks, too much drugs, all kinds of stuff. It was a combination of all the intensities he felt, along with a lack of discipline. In the rock style of that time, there was no discipline. You took <i>everything</i> all the time.</b> I know one thing man--it drained me. It made me realize that, like John McLaughlin, I needed to know about discipline. Now I know that out of discipline comes freedom. <b>When you've got discipline in your pocket you've got punctuality, regularity, meditation. When things get too crazy with the record, the companies or the world you can flick a switch and go into your own sanctuary and play music that is stronger than the news</b>. </blockquote>
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"<b>Whether you are doing it in the bar, the church, the strip joint or the Himalayas, the first duty of music is to complement and enhance life</b>. And once you approach it like that then there is order....People come up to me, and tell me that I [changed their lives]. Someone said to me 'Man, I was ready to check out, put the gun to my head, and I heard this song. It made me cry and it made me want to try it again. Now I feel better.' That's not <i>me</i> though, it's a spirit through me that wants to exalt itself. It says 'Don't take that out. <b>Don't treasure frustration. Don't treasure depression. This is an imposter--don't make friends with him. You're more than that. Don't focus on the negative things in life--accentuate the positive; otherwise you become darkened. Light up a candle.' That's the tone; that's the story that I want to do through my music as much as possible....What means something is to be able to tell a story and put wings in people's hearts</b>."</blockquote>
Over the years I've re-read this and other interviews with Carlos Santana multiple times (his autobiography is also quite excellent). I know that many people find him to be kind of weird, but his words move me as much as his music, and I believe that both are equally genuine.<br />
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The cover story was about the re-formed, newly touring edition of Lynyrd Skynyrd. Titled "10 Years Later, Lynryd Skynyrd Rocks Again", Jon Sievert's article was a good overview of the band's history leading to the tragic plane crash, what the musicians did afterwards, and a summary of the new tour. The article is quite interesting if only because Gary Rossington opines freely on topics like songwriting, and the role of Al Kooper (Steve Katz' co-founder of Blood, Sweat and Tears) in the band's success. I recently watched a documentary called "<a href="http://www.imdb.com/title/tt5645196/">Gone With The Wind</a>", which was a nice band biography, but Rossington was conspicuous in his absence. The movie would have been better if he was in it, even if only to share his feelings about the crash (in which he broke both arms, both legs, both wrists, both feet and his pelvis), "Plus my heart got broke real bad. It took me a long time to even want to play again."<br />
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According to the article, "At the beginning of the tour, the goal was clear. Lynyrd Skynyrd would play 33 concerts in 40 days; then the members and crew would return to what they were doing before it all happened. The response to Skynyrd's return has changed all that." It sure has. Though the band has announced that 2018 will be the end of the road as a touring entity, the hard traveling band has thrilled (and formed) millions of new fans in the last thirty years. While I've not been a big fan of what has sometimes seemed to be an ersatz tribute band, I have to tip my hat to the group for staying true to the music and their audience for so many decades. Well done, Lynyrd Skynryd.<br />
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During the '80s Mike Varney, who owned Shrapnel Records, had a section of every issue of <i>Guitar Player</i> to give capsule descriptions of guitarists or bassists who had submitted demo tapes to him. I used to love reading these at the time, and now it's fun to try to find the musicians on Spotify to see how their careers turned out. But sometimes, a famous name jumps out at you. For instance, this month Varney showcased Greg Howe. Only four years older than me, and living about 40 miles to the north, Howe was already on the way to fame as one of the decades' most talented shredders. Varney notes that "Greg's demo tape is among the most exciting I've received, featuring great chops and strong original instrumental compositions. His diverse yet cohesive style is hard to categorize. It successfully combines both legato and speed-picking techniques similar to Allan Holdsworth's and Yngwie Malmsteen's respectively, but it's still jazzy and bluesy, at times sounding like Larry Carlton with a George Lynch feel....Well worth checking out." You can hear the resulting Shrapnel Records album in the playlist to this post. <a href="http://www.greghowe.com/">Greg Howe's career</a> is still flourishing, and <a href="https://www.kieselguitars.com/catalog/guitars/gh3">his signature guitar is pretty rad looking</a>. Check him out if he comes to your town, or hit him up for an online lesson to take your playing to the next level.<br />
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This was a really excellent issue. I find it particularly interesting that two of the featured musicians (Lloyd and Santana) both had the chance to see Jimi Hendrix recording and both had similar experiences of shock at his ability to channel his music, with both men trying to take that energy and apply it to their own art. Meanwhile, to see what guitarists were listening to in January of 1988, check out the playlist below for some of the music featured in articles, reviews or ads--the Omar and the Howler record is really good. Jas Obrecht<i> </i>reviewed Joe Satriani's breakthrough "Surfing With The Alien" in this issue, praising its "ten inspired instrumentals from rock guitar's outer limits" and hailing a "major new guitar voice". But more on that next month, when Satch was on the cover of the February, 1988 issue. I'll see you here next month; until then, keep on picking!</div>
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com1tag:blogger.com,1999:blog-428900226049233659.post-4222471914663958782017-12-09T17:05:00.002-05:002017-12-09T17:05:59.806-05:00My Back Pages: Thirty Years Ago in Guitar Player Magazine (November and December 1987)<div style="text-align: justify;">
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Welcome back to <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">"30 Years Ago"</a>, where I take a close look at the issue of <i>Guitar Player</i> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I can learn from rereading so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue.<br />
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This is a holiday special bonus, comprising highlights from the November, 1987 <b>AND</b> December, 1987 issues. A combination of being very busy, plus finding the issues rather boring in retrospect has led me to combine the two. </div>
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<a href="https://www.onthisday.com/date/1987/november">Some of the highlights (or lowlights) of November, 1987 include</a>: Anthony Kennedy being nominated to the Supreme Court (after the previous nominee, Douglas Ginsberg, admitted to having once smoked marijuana). Matrimonially, rocker Lenny Kravitz married former Cosby kid Lisa Bonet, blues aficionado Bruce Willis married Demi Moore, and comic actor Phil Hartman married the woman who would eventually murder him. <a href="https://www.onthisday.com/date/1987/december">Some of the highlights (or lowlights) of December, 1987 include</a><span id="goog_457912438"></span><a href="https://www.blogger.com/"></a><span id="goog_457912439"></span>: Philadelphia Flyers goaltender Ron Hextall becoming the first netminder to score a goal, and President Reagan and Soviet Premier Gorbachev had a summit meeting in Washington and signed the Intermediate Nuclear Forces treaty, which led to the dismantling of thousands of nuclear weapons.<br />
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On a personal level, I was into my senior year of high school and for the holidays I bought what I thought would be my first good guitar: a brand new Epiphone Sheraton II. Remarkably, when I showed up for my next lesson proudly clutching the plush case, my teacher Jim McCarthy was excited to show me HIS holiday present--the Gibson ES-335 that was hanging next to my guitar at the local store! Unfortunately the guitar's hardware was not very good and it refused to stay in tune--I eventually traded it in for the Stratocaster I still have, but that's a story for another day. </div>
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The highlight of the November, 1987 <i>Guitar Player</i> the cover story about "George Harrison, Guitarist". It's no coincidence that his solo album <i>Cloud Nine</i> was released that month, and the magazine was very excited to proclaim "The ex-Beatle talks guitar for the first time". The article is a mix of discussion of the new record, his understated, but star role in a cable-tv concert honoring Carl Perkins (<a href="https://youtu.be/vsTH1tgIh2E?t=1s">watch the full video here--it's a super show!</a>), and of course the Beatles.<br />
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The biggest highlight for me at the time was the section on Harrison's guitars, featuring (cruddy) pictures captioned by the man himself. For your holiday viewing pleasure, here it is:<br />
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The December, 1987 issue was the annual gear issue. While it IS full of information about new axes, amps and accessories (38 pages, in fact), compared to the wealth of gear information we get now, what stands out is the paucity of details here. It's the personification of "In my day..." ("In my day, we were lucky to get a black and white picture of a guitar WITHOUT A CAPTION. Lucky I say..."). </div>
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The other highlight was the results of <i>Guitar Player</i>'s annual readers poll. I've NEVER been much of one for this kind of thing, because music isn't a competition. But it IS interesting to see who was considered top of the heap thirty years ago. As an added bonus is the list of the "Gallery of the Greats" who had won a poll category five times and were retired from further competition. I wonder how many guitarists and music fans even recognize some of the names on the list?</div>
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<iframe allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/user/1211830735/playlist/0EAFktDJkgTIIjEqX0iRT6" width="300"></iframe>Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-87277851710133793862017-10-22T19:52:00.001-04:002017-10-22T20:01:01.045-04:00My Back Pages: Thirty Years Ago in Guitar Player Magazine (October 1987)<div style="text-align: justify;">
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<a href="https://4.bp.blogspot.com/-CZZ1TQ87RM0/WLbL9Z130EI/AAAAAAAABsw/CJGBKLh8_zEJzGiyA5LPk_IzmDwuqjm7QCPcBGAYYCw/s1600/GP304.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><img border="0" data-original-height="811" data-original-width="1600" height="162" src="https://4.bp.blogspot.com/-CZZ1TQ87RM0/WLbL9Z130EI/AAAAAAAABsw/CJGBKLh8_zEJzGiyA5LPk_IzmDwuqjm7QCPcBGAYYCw/s320/GP304.jpg" width="320" /></a>Welcome back to <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">"30 Years Ago"</a>, where I take a close look at the issue of <i>Guitar Player</i> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I can learn from rereading so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue.</div>
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<a href="http://www.onthisday.com/date/1987/october">Some of the highlights (or lowlights) of October, 1987 include</a>: the advent of <a href="http://www.espn.com/30for30/film?page=YearoftheScab">scab football</a> when the NFL replaced striking players with poorly qualified substitutes to the derision of the football watching public; "<a href="http://www.npr.org/2017/10/19/558625600/the-30th-anniversary-of-black-monday-a-day-that-made-wall-street-quake">Black Monday</a>", when the Dow Jones Industrial Average fell by 22%, and former Solicitor General Judge Robert Bork was rejected for a seat on the Supreme Court (to fill the spot left by former Chief Justice Burger, who left to lead the Bicentennial of the Constitution celebrations). On a personal level, I was into my senior year of high school and over Columbus Day weekend went with my family to visit <a href="http://www.hampshire.edu/">Hampshire College</a>, where I would matriculate the following year. I continued my guitar studies with GIT grad Jim McCarthy and kept listening to a wide range of music (classic rock; whatever was on MTV; jazz).</div>
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The October, 1987 <i>Guitar Player</i> was full of interesting content. The cover promoted a lengthy (covering 25 pages!) dual interview with Sammy Hagar (promoting his new solo record) and Edward Van Halen (who produced it). Other noteworthy articles include interviews with Suzanne Vega, blues legend Otis Rush, a lesson from country guitar maestro Albert Lee, an article about Steve Wariner, a "legal primer" for aspiring music professionals, a feature on bassist Doug Wimbish and the usual lessons, gear reviews and album reviews. Seriously, this issue was chock-a-block with great material and could have sold for twice the price. Also, can you imagine any music magazine spending 25 pages on an interview? In fact, it was the decreasing length of interviews that eventually led me to stop reading <i>GP </i>around 2008. </div>
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The articles in the front of the magazine are all well done and quite interesting. If I recall, this is where I first learned of <a href="http://www.stevewariner.com/">Steve Wariner (</a>though I used to watch Country Music Television back then and could have seen him there first). The Wariner piece by Jon Sievert begins "Five #1 singles in a year and a half ought to be enough to give any musician a feeling of satisfaction..." but notes that Steve regrets that he's known as a singer more than as a guitarist. The article works hard to convince that "the best way to appreciate Wariner's playing, however, is to see him in concert. Steve propels his crack, five-piece band with the force of his guitar, kicking off most of the intros himself, and calling audibles with his turnarounds and body language...'It's a real guitar-oriented show', says Steve. 'I play about 90% of the leads with the band, and then do maybe a 30-minute solo set--just me and my guitar.'" Some videos of a 1983 Austin City Limits show featuring the songs "<a href="https://www.youtube.com/watch?v=k2G45k5FOIE">Some Fools Never Learn</a>" and "<a href="https://www.youtube.com/watch?v=xlctU0SYKB4">Lonely Women Make Good Lovers</a>" I found on YouTube show how multi-talented Steve Wariner was then (he's even better now). </div>
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The Suzanne Vega article is also quite interesting. Tied in to the approximate release of <i><a href="http://www.npr.org/sections/world-cafe/2017/10/20/558774268/suzanne-vega-on-world-cafe">Solitude Standing</a> ("</i>her recent smash hit"), the article did a great job of describing Vega's musical bona fides and of showing how central the guitar is to her music. While the teenage me was more aware of her unique vocal stylings, this article by Jas Obrecht notes that the Manhattan native (who attended the Performing Arts High School shown in the movie and tv show <i>Fame</i>) is an adept guitarist. He quotes guitarist/producer Steve Addabbo as saying "Suzanne's playing is unbelievably simple, and yet it comes out sounding very complex. She doesn't really play normal positions. She uses a lot of open strings and rarely does she play a 3rd in a chord. She seldom uses more than two or three left hand fingers and they are generally in simple clusters. She'll use like a first position A chord with the B and E strings open and move those two fingers around against the open strings. Almost the whole song 'Solitude Standing' is based on just those two fingers." </div>
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<a href="https://www.youtube.com/watch?v=SGbL9shf66c">This concert video from YouTube </a>gives a good picture of Suzanne Vega's playing style. She seems to agree with Addabbo about her technique: </div>
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"My playing style is rather unusual. It's mostly self-taught and I tend to pick a lot. It's not your usual sort of fingerpicking, but almost a classical style. I like to pluck rhythms using all of my fingers at one time, so it comes out very percussive-sounding. I'm usually plucking two or three strings at once. 'Solitude Standing' is very hard for me because I'm sort of locking in with the snare drum, and it's difficult to maintain that for five minutes. </blockquote>
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I like chords that are augmented or diminished and sometimes I build around a minor. 'Luka' was the one exception: it begins on a major chord and has a major chord feeling all the way through. Usually when I first start writing the words, there's a piece missing, like a bridge or part of a chorus. 'Luka' definitely began with the chords and the rhythm, and then the words fit the song...It never says that Luka is abused, but if you look at the words, he says everything that a kid would say who is being abused but won't come out and say it."</blockquote>
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<a href="https://2.bp.blogspot.com/-un0W0ag_BDU/WezJUV2RxWI/AAAAAAAAB90/4YH7A8t-EpYe65OZrSPJf9hMmNsrOpGVwCLcBGAs/s1600/Oct87%2Bprimer.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="827" data-original-width="596" height="400" src="https://2.bp.blogspot.com/-un0W0ag_BDU/WezJUV2RxWI/AAAAAAAAB90/4YH7A8t-EpYe65OZrSPJf9hMmNsrOpGVwCLcBGAs/s400/Oct87%2Bprimer.png" width="287" /></a><a href="https://2.bp.blogspot.com/-un0W0ag_BDU/WezJUV2RxWI/AAAAAAAAB90/4YH7A8t-EpYe65OZrSPJf9hMmNsrOpGVwCLcBGAs/s1600/Oct87%2Bprimer.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://2.bp.blogspot.com/-un0W0ag_BDU/WezJUV2RxWI/AAAAAAAAB90/4YH7A8t-EpYe65OZrSPJf9hMmNsrOpGVwCLcBGAs/s1600/Oct87%2Bprimer.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://2.bp.blogspot.com/-un0W0ag_BDU/WezJUV2RxWI/AAAAAAAAB90/4YH7A8t-EpYe65OZrSPJf9hMmNsrOpGVwCLcBGAs/s1600/Oct87%2Bprimer.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://2.bp.blogspot.com/-un0W0ag_BDU/WezJUV2RxWI/AAAAAAAAB90/4YH7A8t-EpYe65OZrSPJf9hMmNsrOpGVwCLcBGAs/s1600/Oct87%2Bprimer.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a>The article "A Legal Primer for the Guitarist" by Jeffery Scott, a professor at the Dickinson School of Law's (now Penn State) Entertainment Clinic was quite interesting, and not just for the hysterical, period-correct picture that accompanied it. As the article noted, "You don't have to be a lawyer, but know the pitfalls". It gave brief tips about gaining representation, signing contracts and recording agreements, as well as some basics about taxation, copyright and joining rights organizations to collect royalties. This was really super, and definitely would be helpful for an aspiring musician. Some of the guys on the Sunset Strip who look like the guitarist in the picture would have been better off taking a day off from sponging off their stripper girlfriends to read this article--if so they might still be making money to support their cocaine habits!</div>
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Otis Rush is one of the most famous blues guitarists that many people haven't heard of. I was a young blues fanatic, collecting records and listening to weekly blues programs on local radio stations in 1987 and this article by Dan Forte was really eye opening to me. Over the years, <i>Guitar Player</i> published lots of great interviews with blues legends, and in retrospect, this one is kind of sad. Rush seems to be aware of the ways that his career has been less successful than he would have liked, and the sense of his awareness of wasted time pervades the piece.<br />
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Rush, like his contemporary Chicago guitar slinger Buddy Guy either couldn't get his records released or the records that did come out were a far cry from what he could do on stage. "Chess didn't really need me when they signed me up," he states. "But they get you and handcuff you, you know, where you can't be making records for no one else. They weren't too interested in pushing me, they just wanted control. That's America. After three years with Chess I signed with Duke. I didn't know what I was doing--they promised me the moon and only put out one single. Now I don't sign nothing--just one LP at a time." It's ironic that he is featured in the same issue as "A Legal Primer..."; it seems like Otis Rush is a great example of someone who could have benefited from better career advice.<br />
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Forte asked Rush about his "progressive leanings" and the guitarist laughed, "that's for you to decide. I just play and I've got sounds. I hear things onstage and I go home and try to figure them out. I know I'm gonna mess up in places, but sometimes I get away with it. To me, I'm trying to learn how to play. I'm scuffling, trying to find something new, trying to make it off the ground.<br />
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The lefthanded Rush plays his guitars upside down (with the heavy strings on the bottom), which like Albert King before him, gives a different power to his string bends. Forte points out that unlike Albert, Otis Rush "commands an impressive chord vocabulary": 'That's true,' he says with uncharacteristic pride. 'I went to school a little bit, you know, for chords--just to make me understand my thing.'"</div>
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<a href="https://www.youtube.com/watch?v=1W1J2yAV-dE">There's a recording on YouTube of a concert (with Eric Clapton and Luther Allison) from around the time of this article</a> and it shows that Otis Rush was a master of the blues--what's not evident is how much of what we think of as classic electric blues guitar was invented by Otis Rush. This article was definitely an eye opener to a fan of Eric Clapton (who recorded such Otis Rush tunes as "All Your Love" and "Double Trouble", Led Zeppelin ("I Can't Quit You Baby"), Peter Green ('Homework") and Stevie Ray Vaughan (who named his band Double Trouble). </div>
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The four page article about bassist <a href="http://www.dougwimbish.com/">Doug Wimbish</a> by Chris Jisi was focused largely on his then-current work with Jeff Beck and Mick Jagger, but in retrospect what is so interesting to me is to learn that Wimbish was the bass player on some of the foundational tracks of hip-hop, such as "The Message" and "White Lines" by Grandmaster Flash. The article states that Wimbish became one of New York's most in-demand session players, and the list of artists with whom he recorded, played or produced was mind-boggling:</div>
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George Clinton, Hall and Oates, Carly Simon, Thomas Dolby, Steve Winwood, Clarence Clemons, Freddie Jackson, Melba Moore, McFadden and Whitehead, Jeffery Osborne, Nona Hendryx, James Brown and Africa Bambaataa, Lou Rawls, Sing, Force-MDs, Ray-Goodman-And-Brown, Cindy Mizelle, Malcom McLaren, Squeeze, Erasure, Edgar Winter, Jan Hammer, Santana, Buddy Miles, Steve Lukather, Tom Coster, Little Steven, Arthur Baker, Peter Wolf and the Sun City Project, which included among others Bruce Springsteen, Bono, Herbie Hancock and Miles Davis.</blockquote>
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Whew! To play with any two of those artists would make for an amazing career, and Wimbish did all of that before he was thirty! The article closes with some advice that is relevant to musicians of all stripes:</div>
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"When you're starting out, it's good to get formal training and to develop your ear by playing with records and the radio. Listen to all kinds of music and rather than copping licks note for note, focus on concepts for a balanced development. We're all working to reach the level of being able to play clearly and instantly play whatever is in our heads. Try to play with older musicians, where you stand to learn more. Strive to become well-rounded, and learn to utilize criticism to your advantage. In other words, talk less and listen more. Further down the road, get involved in as many projects as you can and try to stay aware of each one's potential. </blockquote>
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You can't lie to yourself. Know your weak points, and work on them, whether they're on the fingerboard or in your motivation. Try to be the best player, businessman, agent and person you can be, because there are a lot of forces out there working against you. Also, one big advantage to give yourself in today's market is to become a <i>player</i>, someone who knows his instrument inside and out....As technology forces musicians away from their axes, the number of great instrumentalists decreases, and having that skill becomes a commodity."</blockquote>
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<a href="https://1.bp.blogspot.com/-FVXDOzRgLmg/WezJUKgeBaI/AAAAAAAAB9o/paD_LunJbawwiJlborcb0o1zAeDRojoxgCLcBGAs/s1600/EVH%2BSH.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="709" data-original-width="409" height="400" src="https://1.bp.blogspot.com/-FVXDOzRgLmg/WezJUKgeBaI/AAAAAAAAB9o/paD_LunJbawwiJlborcb0o1zAeDRojoxgCLcBGAs/s400/EVH%2BSH.jpg" width="230" /></a>The main story in the issue is Jas Obrecht's double interview with Sammy Hagar and Eddie Van Halen. Hagar, who had achieved success as a guitarist and singer with Montrose and on his own (his song "I Can't Drive 55" is a perennial favorite of mine) had joined Van Halen after the sudden departure of David Lee Roth after the <i>1984 </i>tour. While the years have seen multiple tours, breakups, reunions and recriminations from all concerned, at the time of this article the two men seemed to be close friends and collaborators, with Van Halen having produced (and played <b>bass) </b>on Hagar's latest solo outing. <a href="https://www.youtube.com/watch?v=K2vvRwwAF9Y&t=2770s">To get a glimpse of the peak of the "Van Hagar" era band, the live document "Live-Without A Net" is required viewing</a>. The band seems to be on fire and having a heck of a time, but in the interview Van Halen dismisses the show as "average" and Hagar complains that "we were pretty damn tired that night."</div>
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The article is written in transcript form, and there are so many things that I could write about! I've limited myself to three things: gear, performance, and the men's thoughts about other musicians on the scene. Obrecht knows that in 1987 the guitar playing world was obsessed with and influenced extraordinarily by Van Halen's finger-tapping style and he makes sure that readers learn everything there is to know, from the guitars he used (he mentions his striped Kramer "it's actually quite a piece of shit, but it sounds good"), to his legendary "modded" Marshall, to a detailed explanation of the signal path written by "equipment wizard" Bob Bradshaw himself with stops on plectra and boiled strings in between.<br />
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Performance wise, there was a lot to digest. Here are some selections:<br />
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<i>Do you remember any solos as being especially hard to get right?</i><br />
<b>Hagar: </b>This guy probably more than me. I never played anything that hard.<br />
<b>Van Halen:</b> My solos are all just sort of winging it--different, you know.<br />
<b>Hagar</b>: It's tough because, honestly, anything he plays is not just good, it's great.<br />
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<i>In concert, Sammy, you introduce Eddie as the world's greatest guitarist</i><br />
<b>Hagar: </b>I think he is.<br />
<i>What are your observations on playing occasional lead guitar in a band with him?</i><br />
<b>Hagar</b>: Kind of makes me put on a nice little hat, too: "Yeah, I can jam with this cat!"[<i>laughs</i>]. I don't even consider myself in the same league--as a technician or in terms of chops. But to express myself, I can communicate as well as Eddie or anyone else. I just can't communicate on as many different levels and for as long [<i>laughs</i>]. I can't get as deep with the conversation.<br />
<b>Van Halen</b>: He gets the point across very well. He's a soulful player.<br />
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<i>Any chance of Eddie playing bass on any of these songs [in concert]?</i><br />
<b>Hagar: </b>[<i>laughs</i>] Say, hey, Mike, you wanna go wait in the bus?<br />
<b>Van Halen:</b> Year Mike, we don't need you this tour. [<i>laughs</i>]. No there'd be no reason for anything like that. (NOTE: How's <b>THAT</b> for some foreshadowing?)<br />
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<i>You seem very happy during your extended solo on Live Without a Net.</i><br />
<b>Van Halen</b>: Oh yeah. I usually am. It's kind of that way all through the show. The time onstage is also a very physical, draining thing but it's basic euphoria. It's fun.<br />
<i>If you feel like stretching out during a concert, can you nod at the guys and take a few more choruses?</i><br />
<b>Van Halen</b>: Yeah. That happens whenever I feel like it. Sometimes Al will do it and then Sammy will. There's no set thing. All my solos end with a nod to Al, so I just keep going until I turn around. I have no idea what's the longest I've gone--about 20 minutes, probably. That's when I started getting ragged on by a certain person [<i>imitates David Lee Roth</i>]: "Your solo's gettin' too long!" I'd say, "Fuck you. Your raps are getting longer" [<i>laughs</i>]. It used to be nothing but talk, man. It was three-fourths talk. But as soon as I got up there to do my solo [<i>gives a sinister laugh</i>] he couldn't stop me anyway.<br />
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<i>Do you change your extended guitar solo?</i><br />
<b>Van Halen</b>: Yeah, I change it now and then. I was doing Beethoven's "F<i><u>ü</u></i>r Elise" for a while, and "Eruption" is always a part of it.<br />
<b>Hagar</b>: After seven months on the road, I've got to say that I really enjoyed this guy's guitar solo every night--for many reasons. There was only one night where I could say that he did a sloppy guitar solo, and I told him about it. I said, "Man, that was the worst you've ever played." I was real disappointed, because he was a little drunk. But at his worst, the guy plays better than most people. The people don't notice anything, but I do, because I've heard him be so on.<br />
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<i>Are you aware of what others are doing with tapping techniques?</i><br />
<b>Van Halen</b>: No. It used to bother me when people would do my thing, but it used to bother me more when they played my <b>melodies</b> almost. The technique is there for anybody to use, so it doesn't really bother me anymore.<br />
<b>Hagar</b>: The worst part of people ripping you off is when they don't acknowledge it. Hey, if I stole licks from Eddie, it would be like stealing his car and then driving it back to his house and saying "hey man, check out my new ride!" [<i>laughs</i>] That's practically what some of these guys do.<br />
<b>Van Halen</b>: That's the way I do look at it.<br />
<b>Hagar</b>: Some of these hotshots come up to Eddie: "Hey, yeah, check this lick out I learned!" And he goes, "Oh yeah, isn't that from 'Jump'?"<br />
<i>Do you keep up with the hot young players?</i><br />
<b>Van Halen: </b>I've never really been interested. I haven't bought a record in, I don't know how long.<br />
<b>Hagar: </b>I'm more interested in that stuff than Eddie is.<br />
<i>Have you ever heard Yngwie Malmsteen, for instance?</i><br />
<b>Van Halen</b>: I heard maybe a little piece of a song on the radio once when we were driving in Sammy's car. The dude's fast, boy, I know that.<br />
<b>Hagar</b>: Yeah. Eddie's comment was "The guy's playing some <i>stuff</i> man!"<br />
<i>What about Steve Morse or Eric Johnson?</i><br />
<b>Van Halen: </b>No. What do they sound like? I like the guy with Bryan Adams [Keith Scott]. He's real melodic. I like Steve Winwood, just as a musician. Steve Stevens is good.<br />
<b>Hagar</b>: Yeah, because he's unique. He's not trying to rip somebody off. Those are the guys I always like, like Billy Gibbons, who's a real good traditional guitar player. Of course, Clapton is still playing great, which is unique in itself--to keep the fire that long. (NOTE: He's talking about Clapton at age 42; Hagar just turned 70 and he's still playing--I guess he's got the fire too.)<br />
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As I said, there is a lot to digest in here. Of course, if the article came out today the takeaway that would blow up social media would be a throwaway line by Sammy that crosses the line into John Mayer territory. Obrecht asked if the <i>5150</i> album going to #1 put any pressure on the band. Van Halen demurred, saying that he thinks it's the same as always. Sammy, on the other hand, tried to put his answer in context, but seems to me to have made a bit of a faux pas:<br />
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"Yeah. I hate to let any mystique out, but the truth of the matter is that the charts all depend on who's out at the time. For instance, I'm sure that <i>1984</i> would have been a #1 record if Michael Jackson wasn't there. We knocked Whitney Houston off--yo man, that's one of the greatest accomplishments of all time! But she came back. See, it's no fair. We don't sell to black people, and she sells to white people too. She and Michael Jackson and Prince have something over us. I got to start dancing more [<i>laughs</i>].</blockquote>
Besides the odd coincidence that all three black musicians he refers to are dead, I think that in 2017 we wouldn't see an artist so explicitly referring to the racial makeup of his audience. Of course in 2017, any audience is precious!<br />
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Well, I've already written over 3,400 words, so time to wrap it up. But there's one more cool thing! Back in the day there was a column by Mike Varney, who ran a record label called Shrapnel. Musicians could send in their tapes and he'd feature the ones he was most impressed with. One of the guys featured in this issue was "19 year old Steve Ouimette" of San Ramon, California. Varney noted that while "he may remind one of Tony MacAlpine or Yngwie Malmsteen, he possesses some qualities uniquely his own. A very talented and tasteful player, he would be an asset to any melodic metal band. Meanwhile, he's furthering his music education in college and continuing to push himself." He sure is. I recognize him from the Telecaster forum on the internet, but young people might recognize him from the Guitar Hero video games, where he recorded the music. Pretty neat!<br />
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Check out the playlist below for some of the music featured in articles, reviews or ads. If you haven't checked out Joe Ely's "Lord of the Highway", you'll really dig it. I'll see you here next month (George Harrison was on the cover); until then, keep on picking!</div>
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-11375256639929772042017-09-25T08:01:00.000-04:002017-10-22T12:30:13.574-04:00My Back Pages: Thirty Years Ago in Guitar Player Magazine (September 1987)<div style="text-align: justify;">
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Welcome back to <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">"30 Years Ago"</a>, where I take a close look at the issue of <i>Guitar Player</i> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I can learn from rereading so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue.</div>
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<a href="http://www.onthisday.com/events/date/1987/september">September 1987 had a few highlights</a>. The late Jerry Lewis' annual telethon raised $39 million to fight muscular dystrophy; erstwhile presidential candidate Gary Hart admitted to cheating on his wife; while future President <a href="https://www.buzzfeed.com/ilanbenmeir/that-time-trump-spent-nearly-100000-on-an-ad-criticizing-us?utm_term=.ywYdK2Gvqx#.vhvaDjM6B0">Donald Trump gained some attention by complaining about what he perceived as Japan's unfair trading practices</a><span id="goog_1758802970"></span><a href="https://www.blogger.com/"></a><span id="goog_1758802971"></span>. Peter Gabriel took home Video of the Year in the MTV awards (his collaborator/guitarist David Rhodes is featured in the September 1987 <i>Guitar Player</i>); the United States celebrated the bicentennial of the Constitution; the NFL began a month-long players' strike (pro footballers are only now beginning to unify again 30 years later against issues such as police brutality and Donald Trump). "Start Trek: The Next Generation" premiered on syndicated tv (30 years later, this month, a new Star Trek series is premiering in an online, streaming service). On the personal level, I began my senior year of high school that month and continued my lessons with fusion guitar player Jim McCarthy, whose hero (and teacher at G.I.T.) Frank Gambale was also featured in this month's <i>Guitar Player.</i></div>
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If you remember the music of the 1980's, several things were prevalent: hard rock; synthesizers; <a href="https://www.youtube.com/watch?v=Bxz6jShW-3E">excessive over production of drums and guitars</a>; and, most of all, speedy guitar playing. The 1980's represented the rise of instrumental virtuosity as measured by notes per measure. Where the 1960's and 1970's guitarists would sometimes play quite fast (think <a href="https://www.youtube.com/watch?v=bW5M5xljdCI">Alvin Lee</a> or <a href="https://www.youtube.com/watch?v=Nj97fhZCOYg">Neal Shon</a>), in most cases they were still trying to play melodies that supported the song. But in the 1980's the growing tendency to "shred" led to faster and faster arpeggiated solos that often lacked any melodic or emotional content. But it sure was attention grabbing! Of course looking back now and seeing this era displaced by the grunge of the 1990's to be replaced by the electronica of this century also lends a somewhat wistful air to the recollections of what might have been "peak rock guitar".</div>
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As you can see, the focus of this month's issue was speed. At this time it's worth pointing out that I have never been able to play fast (though I could play a lot faster in my 20's than I do now), and to a certain degree I used that as an excuse to not try. On the other hand, I've known people who focused 100% on speed and fluid playing but who have never been in a band or performed in public and I'd rather have had my experiences on stage and studio than be a bedroom guitar hero. Re-reading this issue I was caught by a quote from classical guitarist John Duarte:</div>
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"Just because you can play fast doesn't necessarily mean that you'll ever need to reach your top speed, but the higher it is the more comfortable you'll be at lower ones. A good reserve of speed means that you can play with more relaxation, knowing that you aren't being uncomfortably stressed....If you've got speed, display it, but only as one faced of your ability and as a means of getting maximum variety in your performances. It is only when speed is just about all you have to offer that it becomes empty."</blockquote>
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I think this is quite deep, and is both a good argument for building technical proficiency and musical fluency. I also take it as a rebuke to myself for not trying to at least maintain my ability to play fast, and will have to try to rectify that in my practicing.</div>
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<a href="https://1.bp.blogspot.com/-PcwkTJCXSp4/WcfCaEoeKcI/AAAAAAAAB8M/e-auNST2PI8uhvY2Awe8n-nGBr3qpWuEACLcBGAs/s1600/2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="400" src="https://1.bp.blogspot.com/-PcwkTJCXSp4/WcfCaEoeKcI/AAAAAAAAB8M/e-auNST2PI8uhvY2Awe8n-nGBr3qpWuEACLcBGAs/s400/2.jpg" width="308" /></a>My memory of this issue is that it was all about speed, and that Frank Gambale was all over it. I was sort of right, as the "Thunder From Down Under" was part of the vinyl flexidisc soundpage, wrote an article about his system of "sweep picking" and was featured in an advertisement from Ibanez guitars. Sweep picking, by the way, is a system where instead of traditional alternate picking (up stroke, down stroke, upstroke, etc.) one minimizes pick movement by moving across the strings with similar strokes. A proficient sweeper (like my teacher) seems to hardly move the picking hand while the fretting hand appears to be working twice as fast. It sounds cool, and looks amazing. By the way: if you haven't seen Frank play, you're missing out. I saw him as part of Chick Corea's Electrik Band in 1990 and it was literally the best concert I've ever attended. <a href="https://www.youtube.com/watch?v=5sLEY_TSn5I&t=829s">Check out this video to see what a band of virtuosi can do when they team up</a>--it's humbling for sure!</div>
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The other articles this month were quite interesting. There was a factory tour of St. Louis Music's Ampeg bass amp facility and a lengthy interview with eclectic musician Henry Kaiser (a member of <i style="font-weight: normal;">GP's</i> advisory board who lived near the magazine's Cupertino offices) that I doubt would <b>ever</b> be published today (though <i>Premier Guitar</i> has profiled other similarly obscure instrumentalists). But what really stands out to me is three profiles of musicians who were emblematic of what it means to be a real pro. The musicians were Billy Cox (who had played with Jimi Hendrix when they were both in the Army, and later was the bassist in Band of Gypsys), Brian Stoltz (who was then playing lead guitar for New Orleans legends the Neville Brothers, and John Jorgenson, who was playing lead guitar for The Desert Rose Band. </div>
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What stood out to me about these profiles was how music was absolutely everything to these men, and they had persevered through lots of difficult times and small gigs to get to where they were thanks to hard work and patience and a real understanding of music. Billy Cox, who played with Jimi Hendrix as a young musician in the early '60s and also at Woodstock and the Isle of Wight saw his career fall down several pegs after the guitarist's death in 1970:</div>
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Billy moved back to Nashville during the fall of '70 and formed the short lived Nitro Function. "We put out a record," he says, "but we didn't have any control over it. That band had personality problems, business problems and everything else." He then enrolled at Tennessee State University to study medicine. A year later, a call from his friend Charlie Daniels brought him back on the road.... </blockquote>
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During the next few years, Billy worked clubs with keyboardist Lee Martel under the billing of Billy and Lee. Meanwhile, a flood of his recordings with Jimi hit the stands...By the late '70s, circumstances had forced Billy to take a job with an insurance company. "I was still playing on the side with a little high-society group," he points out. "We did all the semi-formals around Nashville. I also played with Bob Holmes' Jazz Excursion and another group called the Clubmen. And I always had quite a few recording sessions. I worked with JJ Cale on several things and I did a lot of demos."</blockquote>
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The article understandably deals a lot with Cox's recollections of Jimi Hendrix, but also asks about his bass gear and his then current record. As of this writing <a href="https://en.wikipedia.org/wiki/Billy_Cox">Cox is still alive</a> and continues to tour with the Experience Hendrix shows.<br />
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<a href="https://www.musicpage.com/brianstoltz">Brian Stoltz has also continued to play and record (most recently with the Funky Meters) New Orleans soul music</a>, but thirty decades ago the Crescent City native was six years into his tenure as the Neville Brothers' lead guitarist. Stoltz described how he came to join the band and to master New Orleans style playing:</div>
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"Art Neville had seen me playing in the Quarter with a great saxophone player named Gary Brown, who's on records by the Bee Gees and tons of stuff. After that I had to have an operation on my hand because I had carpal tunnel syndrome--couldn't play for about six months. Right when I was healing up, Art called me and asked if I wanted to work. I did two rehearsals with them, we did a gig at Tipitina's went to Texas for two nights, then we got a call to go and open for the Stones in Louisville, Kentucky." </blockquote>
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[To learn the Neville's funkified parade rhythms he took his cue] "not from other guitarists so much, but from other instruments--mainly percussion and drums. You know, the big thing with New Orleans music is the drums. You don't hear anyone else in the world play like New Orleans drummers. I look at everything in the Neville Brothers as being a rhythmic instrument--even the ways the voices are used--and that's the way I approach the guitar, especially the older stuff. The notes--not that they don't make a difference--but you don't have to play melodically; it's just the rhythm."</blockquote>
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I thought it was very interesting to re-read this breakdown. For the last couple of years I've been fortunate to play (mainly for fun) with a rotating group of musicians here in Richmond, Virginia. What's been great is to learn songs and continue to rehearse them, because the more of this I do the more I can identify with what Stoltz observed about the importance of rhythm in lots of rock contexts.</div>
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The article about John Jorgenson was fantastic. <a href="https://en.wikipedia.org/wiki/John_Jorgenson">Jorgenson</a> has been a mainstay with the Desert Rose Band and the Hellecasters, and a prolific sideman has also been known as a top interpreter of Django Rhinehardt style "gypsy jazz". Reading about his early career gives the impression of a uniquely gifted musician who never stopped working, hustling and improving. Pardon the lengthy quote, but this is really quite amazing: </div>
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What a dedicated person! I was a schoolteacher for 18 years and I knew lots of talented kids who played "in the school band, woodwind ensembles, state honor bands" and "attended summer music camps" but only a small percentage were able to become professionals. And how cool that he turned a degree in bassoon, clarinet and saxophone into a paying gig at Disneyland, which in turn gave him entree to the larger world of recordings. And the <i>chutzpah</i> for a reed player to fake his way into a gig as a mandolinist. Great story, and makes me want to listen to more of his playing.</div>
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Finally, as you can see, the cover promised a centerfold poster of the plectra (picks) used by famous guitarists. I can't show it to you, because it adorned my teenage bedroom wall and was thrown away decades ago. What I <b>can</b> show you, however, is my first ever guitar pick. I got this at my first lesson in 1986 and have kept it ever since. I don't use it anymore (I prefer a bigger Fender 346 pick) but I still have it. <a href="http://www.ethanlewis.org/gtr00">I've been through a LOT of guitar gear </a>in my time, but this little guy has always been close at hand. That's it for this month. I'll see you in October; in the meantime, keep on picking!</div>
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-15581917258504165762017-08-27T10:58:00.001-04:002017-08-27T10:58:51.098-04:00My Back Pages: Thirty Years Ago in Guitar Player Magazine (August 1987)<br />
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Welcome back to <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">"30 Years Ago"</a>, where I take a close look at the issue of <i>Guitar Player</i> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I can learn from rereading so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue.</div>
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This installment is a little late because my wife and I recently moved, for the 10th time in 24 years. That means that I've schlepped my <i>Guitar Player</i> issues with me all over the country for decades. This month's issue, in fact, has actually been with me in a dozen places--it was originally sent to the home I grew up in, then I asked my parents to send it to me in college a few years later, and I've had it ever since. Pretty cool to think how important these old magazines are to me!<br />
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<a href="http://www.onthisday.com/events/date/1987/august">Nationally</a>, August of 1987 was a slow news month. One noteworthy event was the <a href="https://en.wikipedia.org/wiki/Northwest_Airlines_Flight_255#Aftermath">tragic crash of Northwest Flight 255 in Detroit</a> which killed 156 people--<a href="http://www.baseball-almanac.com/box-scores/boxscore.php?boxid=198708310DET">I flew into Detroit a couple of weeks later to go see a Tigers game for my 17th birthday</a> and I remember that the airport was a very somber place even then. Bon Jovi released their huge album '<a href="https://en.wikipedia.org/wiki/Slippery_When_Wet">Slippery When Wet</a>' that month, but it would be years before the band's guitarist Richie Sambora would get more than just an advertisement in <i>Guitar Player</i>, so we'll let them slide for now. <a href="http://www.the-numbers.com/movies/year/1987">In movies</a>, "Dirty Dancing" premiered, on it's way to millions at the box office and endless airings on TV. On a personal level, in August, 1987 I turned 17, continued my job at Jules Pilch Menswear in Hatboro, PA, and intensified my guitar lessons while watching lots of MTV. Around this time I was starting to get a lot more cognizant of different types of guitars, and while I was still super happy to be picking my Peavey T-15 I definitely began getting aware of other kinds of axes. By this time I was also a big jazz fan and spent a lot of time listening to WRTI radio out of Temple University and becoming very familiar with jazz musicians of all kinds, including (natch) guitar players. </div>
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While I couldn't have known it when it arrived, the August, 1987 issue of <i>Guitar Player</i> went on to become highly significant to me in several ways. <a href="http://www.ethanlewis.org/gtr00">In the coming years, I bought two electric guitars </a>(you'll be able to read all about them when the time comes): a 1987 Epiphone Sheraton II (which I sold in 1990) and a 1989 Fender Stratocaster that I still have (funded, in part, by the sale of the Epiphone). This issue of <i>GP</i> contains a nice article about the history of the Sheraton, and the cover article and other features made for 20 pages of information about Strats that I read and re-read in 1990 before buying mine.<br />
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Looking back at the issue today, it is full of other interesting features, including really great articles on Chicago bluesman Jimmy Rogers, bebop phenom and Merle Haggard sideman Clint Strong, and tributes to late guitar giants Freddie Green and Andres Segovia. There's also nice articles with Robert Cray's bassist Richard Cousins and David Bowie's sideman Carlos Alomar discussing his new synth-based solo album.<br />
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<a href="https://3.bp.blogspot.com/-Lu6HcCGog18/WaIIRgSY1NI/AAAAAAAAB4A/mZ78pau_OEsl5ZCVrEkPiYgmbnBew7DmwCLcBGAs/s1600/BobBain.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="274" data-original-width="516" height="211" src="https://3.bp.blogspot.com/-Lu6HcCGog18/WaIIRgSY1NI/AAAAAAAAB4A/mZ78pau_OEsl5ZCVrEkPiYgmbnBew7DmwCLcBGAs/s400/BobBain.jpg" width="400" /></a>The magazine started off with a very nice feature about "Tonight Show" guitarist Bob Bain in the opening pages. <a href="http://www.vintageguitar.com/2810/bob-bain/">Bain was a giant of the LA session scene</a> in the '50's, '60's and '70s playing on countless record and movie dates (he was Henry Mancini's go-to guitar man). <a href="http://www.fendercustomshop.com/guitars/telecaster/bob-bain-son-of-a-gunn-telecaster/">Fender honored the 91-year old earlier this year with a limited release Custom Shop version</a> of the guitar in the picture at left. The axe is called the "Son of a Gunn", because the original played the memorable guitar line in the theme from "Peter Gunn". The article is cool, and is in keeping with others I've seen from 1987 where the emphasis is on being a professional. Interviewer Jas Obrecht asked Bain "What are the essential skills for a guitarist in your line of work?" The answer is solid gold, and honestly should apply to all guitarists in any band situation:</div>
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"You have to know how to play rhythm on an electric guitar without getting in the way or getting a soggy sound. In other words, you don't sit there playing in 4/4 on a loud electric guitar. You have to find the spots for some fills and occasional solos."</blockquote>
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Yep--that's it! Bain also described his "old Telecaster, which has a Bigsby bridge with a twanger. That's the original guitar I used for all the "Peter Gunn" shows". Finally, he gave a very interesting explanation for the (seemingly) unlikely presence of a wah-wah on his pedalboard:</div>
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"I still keep a wah-wah pedal too, because I always play it at the end of the opening theme. We get residuals on these shows, so all I have to do is listen to the first part of the theme and I know if I did the show or not [<i>laughs</i>]. </div>
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<a href="https://3.bp.blogspot.com/-GAkwkU3NVoY/WaIIRhd9IpI/AAAAAAAAB4E/RzbfJuLOH0sgfK7vFfIJuTprR_erW8zCACLcBGAs/s1600/FGreen.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="317" data-original-width="512" height="247" src="https://3.bp.blogspot.com/-GAkwkU3NVoY/WaIIRhd9IpI/AAAAAAAAB4E/RzbfJuLOH0sgfK7vFfIJuTprR_erW8zCACLcBGAs/s400/FGreen.jpg" width="400" /></a>Continuing in the jazz bag, the feature on Freddie Green ("Mr. Rhythm Remembered") was very well done. Editor Jim Ferguson's article taught this young jazz fan quite a bit. While my weekly lessons were taught by a master jazz-rock fusion soloist, Freddy Green's virtuosity came from a different corner of jazz--he was the ultimate accompanist and during his career (which spanned the years 1937-1987) spent with Count Basie was the glue which kept the famous big band together. As Basie once said "he's the tie-up man of the band". </div>
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Ferguson notes that "Green was an essential cog in what is generally considered to be the best rhythm section in the history of big band jazz...with Basie, bassist Walter Page and drummer Jo Jones." He notes that Green always used archtop acoustic guitars, "apparently feeling secure with Basie and under no pressure to change. In the hands of a lesser player an archtop would have seemed like an anachronism after the late '40's...however Green played with such finesse, commitment and class that his music had a vital, timeless quality....Green chose to remain behind in a supportive capacity. Whatever his reasons for choosing such a self-effacing role, he came to be universally recognized as <i>the</i> premier backup guitarist....There is only one Mr. Rhythm."</div>
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I learned a lot as a teenager from this, and honestly learned more re-reading the article this month. The article spends four pages detailing the Basie Band and Green's role and also has a two page chordal lesson from jazz titan Bucky Pizzarelli ("Blues For Green"). I really doubt that a mainstream guitar magazine would spend this kind of editorial space on what would probably seem like a niche musical genre nowadays. </div>
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<a href="https://4.bp.blogspot.com/-XJT57gLLAMM/WaIIRwUS7WI/AAAAAAAAB4U/G8ejKy6bCmgzYd8Q5MC18Ki0P0OiPWFaACLcBGAs/s1600/Strong.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="503" data-original-width="1600" height="200" src="https://4.bp.blogspot.com/-XJT57gLLAMM/WaIIRwUS7WI/AAAAAAAAB4U/G8ejKy6bCmgzYd8Q5MC18Ki0P0OiPWFaACLcBGAs/s640/Strong.jpg" width="640" /></a>This issue was replete with jazz music! I remember reading the article about Haggard lead guitarist Clint Strong (who was only five years older than me) because around the same time <a href="https://www.youtube.com/watch?v=OMrFeMmuQAo">I saw them on TV's "Austin City Limits"</a>. In fact, it was that show that spawned my lifelong, as yet unfulfilled, lust for a wine-red Gibson Les Paul Custom. Here's <a href="https://www.youtube.com/watch?v=MUBudORSzRg">another clip of Strong playing a nice Ovation Adamas with Freddy Powers--man that cat could pick it</a>! I think that there was a lot about this article that went over my head at the time, but I really appreciate now, such as Strong's hepcat way of talking. I do know that I thought it was awesome that Strong was a disciple of Howard Roberts, the founder of Guitar Institute of Technology, where my teacher had studied. </div>
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Clint Strong became a member of The Strangers, Merle Haggard's band, at age 20. He brought a distinct bebop vibe to the band, plus chops for days. As Haggard noted in the article, "Now if we can just keep him from double-timin' everything [<i>laughs</i>]. Grady Martin told him 'Son, if Hag was payin' you by the note he'd have to give you a raise'." The video clips in the previous paragraph give a good sense of the ferocity and precision of Strong's picking. The following are some of the highlights of the interview:</div>
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<i>You've spent most of your life playing straight-ahead jazz. Do you ever feel confined in this band?</i></blockquote>
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Never...If I want to stretch out and play something outside, Hag doesn't care. Playing with these guys has really disciplined me because it's such a big band and each cat usually gets to blow just one chorus. On jazz gigs I could blow endlessly, but with this band you have to be able to make a statement in one chorus. And sometimes it's much harder to think up something to play on a three chord tune than it is for a tune like "All The Things You Are", where you have a lot of changes and you can use all those scales and stuff to weave in and out of it. You have a lot more exits in a tune like that than you do on "I'll Always Be Glad To Take You Back"--C, F and G. If you're going to play that one, you'd better know the melody.</blockquote>
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<i>How do you approach working with Merle's vocals? Does he give you lots of room?</i></blockquote>
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Basically my goal is to support the soloist or Merle when he's singing. I don't do too many fills in concert because you don't want to run over a guy like Merle Haggard with a lot of meaningless notes. When he starts in on an old Tubb or Lefty tune, generally what I do is just comp some chords....One thing I learned from Roy Nichols is to stay away from the low, muddy end-out of the way of the big, fat piano or steel chords. I'll stay up in the higher register </blockquote>
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<i>What role does Merle's guitar play in the band?</i></blockquote>
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Merle is a hell of a guitar player. There's some nights he burns me off the stage. It's just a bitch, you know, because look at how good he sings already. Damned if he doesn't come out there and start whippin' those guitar licks on you. It's enough to scare a guy! He's the most damn drivingest rhythm player I've ever heard in my life...</blockquote>
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<i>How do you approach a solo?</i></blockquote>
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I can't ever say how I'm going to play because I pretty much go by feel. And, of course, I try to have some concern for the melody....And I know where I'm at by means of the harmonized scale that I learned from Howard [Roberts]...that's really what I use to keep track of where I'm at. If I'm playing on a B flat blues, for instance, I might play around Fm7 on the I chord. On the IV chord I might play around a B flat m7. And then, say, for the last four bars, where it's maybe a Cm7 to an F to a B flat, I might use one of those half step things like Cm7, F7, G flat m7, B7 and B flat. I'm approaching it chromatically. You can get to anything chromatically, and that's a good thing for a young player to learn because it can sure help them out of a lot of situations. I know it did me. <b>You're never more than one fret away from a good sounding note.</b></blockquote>
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This is great stuff. My teacher tried to explain this to me when I was a teenager (I still have the notebook from our lessons, and I can see all this about chromaticism in there) but I didn't have enough of a grasp of the guitar to apply the theory. Now in my late forties, I realize that when I play with a band, focusing on the song, supporting the singer, hewing close to the melody, and trying to use chromatic runs are hallmarks of my playing. Pretty cool.</div>
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The article about Jimmy Rogers is <b>really</b> interesting to me. At the time, I was falling in love with the blues but my understanding of 20th century history and race relations was very limited, so I think that back then I didn't appreciate the parts of the article that resonate with me now. Jimmy Rogers was part of the Muddy Waters band that basically invented the electric Chicago blues (electric guitars, electrified harmonica, drums and bass with piano). One remarkable thing about this music that I didn't appreciate at the time I first read this article is that it was basically developed in 1947-1955 by migrants to northern cities from southern plantations. So when it got over to English players like Eric Clapton, Jeff Beck, Jimmy Page and the like it wasn't actually "old" at all. Dan Forte's interview with Jimmy Rogers notes that "The 62-year old's first hand recollections give a rare insight into one of American music's most important turning points from one of its moving forces." The following are some lengthy quotes that, to me, place the music firmly in it's urban context while also showing how the blues was a music that developed on stage at gigs to get people to dance. </div>
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Like most bluesmen, Jimmy played regularly in the open-air Maxwell Street market known as "Jew Town". "Yeah, me and my friends was playing out there," he smiles; "Buddy, Ed Newman, Porkchop, Stovepipe, Satch, John Henry--all those guys, a bunch of them. Most of those guys is dead now. We'd be out there from maybe 8:00 Saturday night until maybe 3:00 or 4:00 Sunday evening. </blockquote>
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"We played a few clubs, but mostly for parties. When we played in a club, at that time, you wasn't paid to play. You would come in, and the guy would furnish the electricity. You'd hook up and play and make you some money passing the kitty and stuff like that. We'd play in maybe two or three joints a night that way and make pretty good money...In fact, we were making more money that way than I made when we started to call ourselves a band and be paid by the club owners. When we started playing, we were getting like $8 a night that way apiece--three or four of us--but before that two guys, maybe three would go from one place to another and you'd make maybe $75 or $80 bucks a night on weekends. That was good money. "</blockquote>
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Jimmy also had a succession of day jobs, which is how he indirectly hooked up with Muddy Waters. "Off and on I was working days, but I was more interested in playing. The first job I worked on in Chicago was like a packing house--chicken packing in those big 60-gallon drums. Icing them and loading trucks over at South Water Market in Chicago, right off Market St. The next job I had was at Midwest Shoe Manufacturing Company on the West Side. Then I worked at some more packing houses--Liberty, Swift, Armour--and from there I went into construction. </blockquote>
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"I was working at a radio cabinet company with Muddy Waters' cousin Jessie. Jessie would take up with us musicians, like me and Smitty; on weekends he would come around where we'd be playing and he'd buy us whiskey and stuff. He just liked to be with us. So he got me this job at the radio cabinet place where he was working. He told me that he had a cousin that was coming to Chicago. So then I did meet him when he came in, and we got to talking, and he said he was playing down south, down in Clarksdale, Mississippi, for house parties and what have you. And so we just started playing for parties. And from that, club owners hired us. "</blockquote>
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Whereas Waters' main influences on guitar were fellow Mississippians Son House and Robert Johnson, Rogers leaned more towards Big Bill Broonzy, one of the key figures in blues' transition from rural to urban and already a big star in Chicago. "Big Bill was my favorite guitar man. Year, Bill used to call me his son; I knew him a long time. Tampa Red and Big Bill Broonzy and Big Maceo were really the leading hard blues artists that were in Chicago. And Memphis Minnie, but she was fading. Muddy talked about Robert Johnson, but he didn't know Robert too well. But he would talk about what he heard about Robert, see. Muddy knew Son House, and Son House was playing along this same style that Robert was playing. And so he picked up a lot of stuff from Son House, this Delta blues player. He had a lot of different stories about those guys back there. But, see, Muddy was, I'd say about 10 years older than I am. So when he got to Chicago, he was like 30 years old."</blockquote>
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Nearly every player who worked in Muddy Waters' band during the '50s has since achieved legendary status. In town, the group was intimidating to say the least. "They called us the head-cutters," Rogers laughs. "Anytime we'd go in a club, man, the other musicians had to back down because we had the floor. If some guy was playing over here, when we'd get of work we'd go to his club--just to have a nice time. But they wouldn't let us rest until they'd get us up on the bandstand and tear the house up. Then we'd go to the next club."</blockquote>
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Sylvio's and most of the other South and West Side Chicago clubs were rough-and-tumble joints. "Sometimes the black clubs would be pretty rough," Rogers allows, "but it never harmed any of us. The Zanzibar was the roughest one--at 13th and Ashland, on the West Side. Just about every week somebody would get messed up. But what could you do? We was pumping the blues good and had a big crowd. Somebody'd look at somebody else's girl, and there you go."</blockquote>
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Jimmy retired from music in 1960 and didn't return to active playing until 1971. "My kids were growing up and expenses were going higher. And I was a family man. Music wasn't doing much for me at the time so I had to do other things. I bought into a cab company with another fellow. Then I left that and had a clothing store....I started back after a while after I got burned out. The store had burned down back when Martin Luther King got killed and I lost a lot. They had a riot in Chicago and they was burning up everything. So I got caught in it real bad. I had to do something. I already had an offer to go to Europe, but I'd refused it. I called back and in a month's time I was in Europe and that helped me to get myself started again."</blockquote>
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If you can't tell, I think this article (really an oral history) is amazing stuff. I'm so glad that <i>Guitar Player</i> made the effort to get these stories before they were lost forever. </div>
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The cover story is about the Fender Stratocaster. As I mentioned above, this became a very useful set of pages to me a few years later, but what I think is so interesting looking back is the emphasis on the Strat (or "strat-style instruments") being the "guitar of the '80s" and also talking about prices on the then booming vintage market (funny thought, I've had my Stratocaster for 27 years, so it's as old as some of the "vintage" models discussed in the article!). The intro to the article sets the stage nicely:</div>
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Even "Mr. 335" plays one. Even Gibson markets one. Even <i>Martin</i>. It links Buddy Holly to Buddy Guy, Jimi Hendrix to Jimmie Vaughan, Ritchie Valens to Richie Blackmore. It's the favored design for builders of the $2,000 handmade solidbodies, yet it's also at the top of the low-end heap. And prices for vintage models have skyrocketed into the surreal, leaving veteran observers shaking their heads and wondering where it's all heading. It's widely heard in funk, rock, metal, surf and blues. It's all over television--blue jeans commercials, beer commercials, MTV. Most session pros wouldn't dream of showing up without at least one. It's everywhere, the undisputed Guitar of the '80s.</blockquote>
<a href="https://3.bp.blogspot.com/-3_ZXHYUmtoE/WaIISLvUR4I/AAAAAAAAB4c/IQJdpMS8kc0sqkJcjW3L1NGpIF11IfwSwCLcBGAs/s1600/giveaway.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="400" src="https://3.bp.blogspot.com/-3_ZXHYUmtoE/WaIISLvUR4I/AAAAAAAAB4c/IQJdpMS8kc0sqkJcjW3L1NGpIF11IfwSwCLcBGAs/s400/giveaway.jpg" width="308" /></a><br />I'll write more about Strats in the future. While I tend to think that I wasn't very interested in them at age 17 (preferring Gibson style instruments), they must have had <b>some</b> attraction, because it looks like I clipped out and mailed in an entry to win the Strat giveaway that month!<br />
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I've already gone on for long enough. I'll leave you with a Spotify playlist made up of music referred to in the magazine. In addition to the artists mentioned above, there are also some highlights from records reviewed in the back of the issue, as well as some of the Portland, Oregon musicians referred to in an article about the music scene in that town (prior to it's hipster identification, I guess). I hope you enjoy it. I'll be back next month, and until then, keep on picking!<br />
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-22407467458299758052017-07-15T19:33:00.002-04:002017-07-15T19:48:24.457-04:00My Back Pages: Thirty Years Ago in Guitar Player Magazine (July 1987)<div class="" style="clear: both; text-align: left;">
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Welcome back to "30 Years Ago", where I take a close look at the issue of <i>Guitar Player</i> magazine from exactly thirty years prior to discuss what I gleaned from the issue at the time and what I can learn from rereading so many decades later. I also provide a Spotify playlist that includes music that was mentioned in the month's issue.</div>
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Before we start, I'm sad to say that one of the musicians I featured in the June 1987 lookback, <a href="http://www.billboard.com/articles/news/obituary/7865088/south-african-jazz-musician-ray-phiri-obit">South African guitarist Ray Phiri passed away</a> this week. You can <a href="http://icarusanybody.blogspot.com/2017/06/my-back-pages-thirty-years-ago-in.html">read that blog post here on the site, and I urge you to listen to the playlist</a>--the live cuts from Phiri's band Stimela are really awesome.</div>
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<a href="http://www.onthisday.com/events/date/1987/july">Nationally</a>, the seventh month of 1987 saw Oliver North testify in the Iran/Contra hearings, and Federal Appeals Judge Robert Bork was nominated for the Supreme Court. Also, while I didn't notice it then, Guns and Roses released <i>Appetite for Destruction</i>, one of the best albums of the decade and one that would soon play a major role in my life. On a personal level, in July, 1987 I was getting ready to start my senior year in high school. I worked that summer at Jules Pilch Menswear in nearby Hatboro, PA, and continued my guitar lessons while watching lots of MTV. Around this time I was starting to get a lot more cognizant of different types of guitars, and while I was still super happy to be picking my Peavey T-15 I definitely began getting aware of other kinds of axes. By this time I was also getting heavily into the blues and listening to a Wednesday night blues show on local radio was a highlight of my week. </div>
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Unlike <a href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">some of the other issues I've written about</a> in this series, the July 1987 issue doesn't have quite as many noteworthy articles or reviews. Interestingly, the cover features a "summit" of four outstanding Canadian guitarists, Rik Emmett of Triumph, Alex Lifeson of Rush, classical virtuoso Liona Boyd and jazzer Ed Bickert discussing a recording of Emmett's composition "Beyond Borders" that they made combining all of their styles. I say it's interesting because at the time my best friend was Canadian; Doug's dad was stationed at the local Naval Air base near my house and it was in July of 1987 that he was transferred back to Canada and Doug moved away. I remember that Doug had a record collection made up almost entirely of Canadian artists, but I can't remember if he and I talked about this issue or not. </div>
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Other articles of note include interviews with Curt Kirkwood of the Meat Puppets, Joe Diorio on creative improvisation, bassist Andy West on the virtues of the 6-string bass, and a feature on bass giant Brian Bromberg. There was also an informative article about custom colored Fender telecasters from the 1950s and one about Rickenbacker guitars that were sold in England (and bought by groups like the Beatles).</div>
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The two things that really mean the most to me in this issue are the announcement of the release of <i>Tribute</i> by Ozzy Osbourne in honor of his late guitar legend Randy Rhodes, who had died in a crash of the band's plane a few years before and a preview of Fender's Eric Clapton signature guitar. I couldn't have known this then, but the <i>Tribute</i> album has been hugely important to me. It turns out that Ozzy Osbourne helps me conquer writer's block--seriously! Ever since college, when I REALLY need to write something I put on the <i>Tribute </i>album and I can write fast and well. And in 1990 I bought my Fender Stratocaster which is not a Clapton model, but it is Pewter, the most common color of the early Clapton axes (and I've also customized it with Lace Sensor Gold pickups, so it is 70% of an EC)--you'll see much more on my Stratocaster in future blog posts!</div>
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That's about all for this month. My wife and I are packing up our things for our 10th move in our 24 years together. As always I'll grumble when packing the <i>Guitar Players</i> into boxes but I'm so glad to have these old issues! I look forward to next month and having everything unpacked in our new home. Until then, keep on picking!<br />
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-48104716377118586322017-07-15T19:19:00.002-04:002018-11-17T18:32:08.243-05:0030 Years Ago Index<html>
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sans-serif; font-size: 11px; font-style: normal;
font-variant-ligatures: normal; font-variant-caps: normal;
font-weight: 400; letter-spacing: normal; orphans: 2;
text-align: -webkit-center; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2;
word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255);">June</a></td>
<td align="center" valign="top">
<meta charset="utf-8">
<br>
</td>
</tr>
<tr>
<td align="center" valign="top">
<meta charset="utf-8">
<img alt=""
src="https://4.bp.blogspot.com/-CEnMVFpU8d0/W1x1MoRWo3I/AAAAAAAACNE/ZPiJ06AqzKYz5rla3T3Lh4czrGTaE6RQgCPcBGAYYCw/s200/july88cover.jpg"
height="200" width="155"></td>
<td align="center" valign="top"><img alt=""
src="https://2.bp.blogspot.com/-8hi44tbeHEI/W4LBPAMTiaI/AAAAAAAACOA/g385YJkKLZMnkjT0JdzQjnLjfKEGSl8GACLcBGAs/s320/888-Cover.jpg"
height="200" width="152"> </td>
<td align="center" valign="top"><img alt=""
src="https://1.bp.blogspot.com/-VjXrcMYIDeU/W6fHzSUycmI/AAAAAAAACP8/gVihuQDyIwIQTbaCMjIKroTJxYad_TRCQCLcBGAs/s320/Sep88Cover.jpg"
height="200" width="149"> </td>
<td valign="top"><br>
</td>
</tr>
<tr>
<td align="center" valign="top"><a
href="https://icarusanybody.blogspot.com/2018/07/my-back-pages-thirty-years-ago-in.html"
style="text-decoration: underline; color: rgb(102, 187,
221); font-family: Arial, Tahoma, Helvetica, FreeSans,
sans-serif; font-size: 11px; font-style: normal;
font-variant-ligatures: normal; font-variant-caps: normal;
font-weight: 400; letter-spacing: normal; orphans: 2;
text-align: -webkit-center; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2;
word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255);">July</a></td>
<td align="center" valign="top"><a
href="https://icarusanybody.blogspot.com/2018/09/my-back-pages-thirty-years-ago-in.html"
style="text-decoration: none; color: rgb(204, 0, 0);
font-family: Arial, Tahoma, Helvetica, FreeSans,
sans-serif; font-size: 11px; font-style: normal;
font-variant-ligatures: normal; font-variant-caps: normal;
font-weight: 400; letter-spacing: normal; orphans: 2;
text-align: -webkit-center; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2;
word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255);">August</a></td>
<td align="center" valign="top"><a
href="https://icarusanybody.blogspot.com/2018/10/my-back-pages-thirty-years-ago-in.html"
style="text-decoration: none; color: rgb(204, 0, 0);
font-family: Arial, Tahoma, Helvetica, FreeSans,
sans-serif; font-size: 11px; font-style: normal;
font-variant-ligatures: normal; font-variant-caps: normal;
font-weight: 400; letter-spacing: normal; orphans: 2;
text-align: -webkit-center; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2;
word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255);">September</a></td>
<td valign="top"><br>
</td>
</tr>
<tr>
<td align="center" valign="top">
<meta charset="utf-8">
<img alt="October88"
src="https://3.bp.blogspot.com/-lDRSnssXPB4/W_CaTqhWSRI/AAAAAAAACTg/juyzP17pmr4clqtZb6gB_ntJs6TxGC8IgCLcBGAs/s1600/Oct88%2Bcover.jpg"
height="201" width="155"><br>
</td>
<td align="center" valign="top">
<meta charset="utf-8">
<span style="text-decoration: none; color: rgb(204, 0, 0);
font-family: Arial, Tahoma, Helvetica, FreeSans,
sans-serif; font-size: 11px; font-style: normal;
font-variant-ligatures: normal; font-variant-caps: normal;
font-weight: 400; letter-spacing: normal; orphans: 2;
text-align: -webkit-center; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2;
word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255);"></span> <img
alt="Nov88"
src="https://3.bp.blogspot.com/-G8-6Vr3WH1w/W_CaQJV9AMI/AAAAAAAACTc/2K4QMiRqI1o3uI0lSgVp9VbFmRXagI0qACLcBGAs/s320/Nov%2B88%2Bcover.jpg"
height="201" width="155"><br>
</td>
<td align="center" valign="top">
<meta charset="utf-8">
<span style="text-decoration: none; color: rgb(204, 0, 0);
font-family: Arial, Tahoma, Helvetica, FreeSans,
sans-serif; font-size: 11px; font-style: normal;
font-variant-ligatures: normal; font-variant-caps: normal;
font-weight: 400; letter-spacing: normal; orphans: 2;
text-align: -webkit-center; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2;
word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255);"></span> <img
alt="Dec88"
src="https://4.bp.blogspot.com/-I13ABizE3_U/W_CerQopS_I/AAAAAAAACTw/Qg-fmLUt13EVAre_W9hPW3yC18DTX3sZQCLcBGAs/s200/s-l1600.jpg"
height="200" width="152"><br>
</td>
<td align="center" valign="top">
<meta charset="utf-8">
<span style="text-decoration: none; color: rgb(204, 0, 0);
font-family: Arial, Tahoma, Helvetica, FreeSans,
sans-serif; font-size: 11px; font-style: normal;
font-variant-ligatures: normal; font-variant-caps: normal;
font-weight: 400; letter-spacing: normal; orphans: 2;
text-align: -webkit-center; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2;
word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255);"></span> <br>
</td>
</tr>
<tr>
<td align="center" valign="top"><a
href="https://icarusanybody.blogspot.com/2018/11/my-back-pages-thirty-years-ago-in.html"><span
style="text-decoration: none; color: rgb(204, 0, 0);
font-family: Arial, Tahoma, Helvetica, FreeSans,
sans-serif; font-size: 11px; font-style: normal;
font-variant-ligatures: normal; font-variant-caps:
normal; font-weight: 400; letter-spacing: normal;
orphans: 2; text-align: -webkit-center; text-indent:
0px; text-transform: none; white-space: normal; widows:
2; word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255);">October</span></a>
</td>
<td align="center" valign="top"><a
href="https://icarusanybody.blogspot.com/2018/11/my-back-pages-thirty-years-ago-in.html"><span
style="text-decoration: none; color: rgb(204, 0, 0);
font-family: Arial, Tahoma, Helvetica, FreeSans,
sans-serif; font-size: 11px; font-style: normal;
font-variant-ligatures: normal; font-variant-caps:
normal; font-weight: 400; letter-spacing: normal;
orphans: 2; text-align: -webkit-center; text-indent:
0px; text-transform: none; white-space: normal; widows:
2; word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255);">November</span></a>
</td>
<td align="center" valign="top"><a
href="https://icarusanybody.blogspot.com/2018/11/my-back-pages-thirty-years-ago-in.html"><span
style="text-decoration: none; color: rgb(204, 0, 0);
font-family: Arial, Tahoma, Helvetica, FreeSans,
sans-serif; font-size: 11px; font-style: normal;
font-variant-ligatures: normal; font-variant-caps:
normal; font-weight: 400; letter-spacing: normal;
orphans: 2; text-align: -webkit-center; text-indent:
0px; text-transform: none; white-space: normal; widows:
2; word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255);">December</span></a>
</td>
<td align="center" valign="top"><br>
</td>
</tr>
</tbody>
</table>
<meta charset="utf-8">
<b>1987: </b><br>
<table border="0" cellpadding="2" cellspacing="2" height="692"
width="700">
<tbody>
<tr>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
</tr>
<tr>
<td align="center" valign="top"> <a
href="https://2.bp.blogspot.com/-Jvd2w-EYVrQ/WLcWhRpkJqI/AAAAAAAABtQ/jJyqW9_S5hgnGagQ8N8edOSZgwfodM32gCPcBGAYYCw/s1600/Screen%2BShot%2B2017-03-01%2Bat%2B1.43.18%2BPM.png"
imageanchor="1" style="margin-left: auto; margin-right:
auto;"><img data-original-height="674"
data-original-width="511"
src="https://2.bp.blogspot.com/-Jvd2w-EYVrQ/WLcWhRpkJqI/AAAAAAAABtQ/jJyqW9_S5hgnGagQ8N8edOSZgwfodM32gCPcBGAYYCw/s200/Screen%2BShot%2B2017-03-01%2Bat%2B1.43.18%2BPM.png"
border="0" height="200" width="151"></a></td>
<td align="center" valign="top"> <a
href="https://2.bp.blogspot.com/--ZyWJMeLBkA/WReNFjBcjFI/AAAAAAAABxc/MTOovJAkt382fqIYJkD8gC8UAYPg_0fNwCPcBGAYYCw/s1600/GP587-Front.jpg"
imageanchor="1" style="margin-left: auto; margin-right:
auto;"><img data-original-height="801"
data-original-width="609"
src="https://2.bp.blogspot.com/--ZyWJMeLBkA/WReNFjBcjFI/AAAAAAAABxc/MTOovJAkt382fqIYJkD8gC8UAYPg_0fNwCPcBGAYYCw/s200/GP587-Front.jpg"
border="0" height="200" width="151"></a></td>
<td align="center" valign="top"> <a
href="https://1.bp.blogspot.com/-jqfo9ffw_P0/WUBmyuZRGqI/AAAAAAAABz0/hVUfB9yR3WcqNn_D34BrxDVYdL0sVObWgCPcBGAYYCw/s1600/Cover-1.jpg"
imageanchor="1" style="margin-left: auto; margin-right:
auto;"><img data-original-height="1600"
data-original-width="1237"
src="https://1.bp.blogspot.com/-jqfo9ffw_P0/WUBmyuZRGqI/AAAAAAAABz0/hVUfB9yR3WcqNn_D34BrxDVYdL0sVObWgCPcBGAYYCw/s200/Cover-1.jpg"
border="0" height="200" width="154"></a></td>
<td align="center" valign="top"> <br>
</td>
</tr>
<tr>
<td align="center" valign="top"><small><a
href="http://icarusanybody.blogspot.com/2017/03/my-back-pages-thirty-years-ago-in.html">March</a></small><br>
<br>
</td>
<td align="center" valign="top"><small><a
href="http://icarusanybody.blogspot.com/2017/05/my-back-pages-thirty-years-ago-in.html">May</a></small><br>
<br>
</td>
<td align="center" valign="top"><br>
<small><a
href="http://icarusanybody.blogspot.com/2017/06/my-back-pages-thirty-years-ago-in.html">June</a></small><br>
</td>
<td align="center" valign="top"><br>
<br>
</td>
</tr>
<tr>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
</tr>
<tr>
<td align="center" valign="top"> <a
href="https://3.bp.blogspot.com/-XuIGwyW-vxg/WWqda5LvRLI/AAAAAAAAB2Y/uKFBFxI1KF4-8J8sSmAsBWvhijTN_gkkwCPcBGAYYCw/s1600/Cover.jpg"
imageanchor="1" style="margin-left: auto; margin-right:
auto;"><img data-original-height="1600"
data-original-width="1237"
src="https://3.bp.blogspot.com/-XuIGwyW-vxg/WWqda5LvRLI/AAAAAAAAB2Y/uKFBFxI1KF4-8J8sSmAsBWvhijTN_gkkwCPcBGAYYCw/s200/Cover.jpg"
border="0" height="200" width="154"></a></td>
<td align="center" valign="top"> <a
href="https://4.bp.blogspot.com/-GEJMWagzd80/WaIIRu3MIkI/AAAAAAAAB4g/M52c8mLaJE0eV2_bkhg_LGzxFLBR-geywCPcBGAYYCw/s1600/8-87cover.jpg"
imageanchor="1" style="margin-left: auto; margin-right:
auto;"><img data-original-height="1600"
data-original-width="1237"
src="https://4.bp.blogspot.com/-GEJMWagzd80/WaIIRu3MIkI/AAAAAAAAB4g/M52c8mLaJE0eV2_bkhg_LGzxFLBR-geywCPcBGAYYCw/s200/8-87cover.jpg"
border="0" height="200" width="154"></a></td>
<td align="center" valign="top"><a
href="https://1.bp.blogspot.com/-6EieaEQuyyk/WcerTq2TpII/AAAAAAAAB7I/Wp2rY4VdTi4xVFCgB3U8dUfyNrdbGXmpACLcBGAs/s1600/1.jpg"
imageanchor="1" style="margin-left: auto; margin-right:
auto;"><img data-original-height="1600"
data-original-width="1237"
src="https://1.bp.blogspot.com/-6EieaEQuyyk/WcerTq2TpII/AAAAAAAAB7I/Wp2rY4VdTi4xVFCgB3U8dUfyNrdbGXmpACLcBGAs/s200/1.jpg"
border="0" height="200" width="154"></a> </td>
<td align="center" valign="top"><br>
</td>
</tr>
<tr>
<td align="center" valign="top"><br>
<small><a
href="http://icarusanybody.blogspot.com/2017/07/my-back-pages-thirty-years-ago-in.html">July</a></small><br>
</td>
<td align="center" valign="top"><br>
<small><a
href="http://icarusanybody.blogspot.com/2017/08/my-back-pages-thirty-years-ago-in.html">August</a></small><br>
</td>
<td align="center" valign="top"><br>
<meta charset="utf-8">
<small><a
href="http://icarusanybody.blogspot.com/2017/09/my-back-pages-thirty-years-ago-in.html">September</a></small><br>
</td>
<td align="center" valign="top"><br>
<meta charset="utf-8">
<br>
</td>
</tr>
<tr>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
</tr>
<tr>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
<td align="center" valign="top"><br>
</td>
</tr>
<tr>
<td align="center" valign="top"><a
href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html"><img
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"
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<td align="center" valign="top"><small><a
href="http://icarusanybody.blogspot.com/2017/07/30-years-ago-index.html">October</a></small>
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<td align="center" valign="top"><a
href="http://icarusanybody.blogspot.com/2017/12/my-back-pages-thirty-years-ago-in.html"
style="text-decoration: none; color: rgb(204, 0, 0);
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background-color: rgb(255, 255, 255);">December</a> </td>
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com1tag:blogger.com,1999:blog-428900226049233659.post-88419281266655954972017-06-13T20:22:00.004-04:002017-06-13T20:22:52.255-04:00My Back Pages: Thirty Years Ago in Guitar Player Magazine (June 1987)<div class="" style="clear: both;">
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<a href="https://4.bp.blogspot.com/-CZZ1TQ87RM0/WLbL9Z130EI/AAAAAAAABsw/CJGBKLh8_zEJzGiyA5LPk_IzmDwuqjm7QCPcBGAYYCw/s1600/GP304.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="811" data-original-width="1600" height="161" src="https://4.bp.blogspot.com/-CZZ1TQ87RM0/WLbL9Z130EI/AAAAAAAABsw/CJGBKLh8_zEJzGiyA5LPk_IzmDwuqjm7QCPcBGAYYCw/s320/GP304.jpg" width="320" /></a></div>
<span style="text-align: justify;">Welcome back to "30 Years Ago..." My personal collection of </span> <a href="http://www.guitarplayer.com/"><i>Guitar Player</i></a> magazines goes back to the fall of 1986, which is around the time I started playing. Each month I write a new post looking at the issue that was published exactly 30 years ago; the goal is to try to remember what I learned from the issue at the time, but also what someone reading the issue for the first time today might notice. Each post features a Spotify playlist with some of the music from the issue.</div>
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<span style="text-align: justify;">Well without further ado, let's go back in time. In June, 1987 I was finishing up 11th grade and starting my job as a stock assistant at Jules Pilch Menswear in nearby Hatboro, PA. Guitar wise, I was still picking on an old classical (nylon-string) acoustic of my aunt's, and a </span><a href="https://reverb.com/item/4388085-peavey-t15-electric-guitar-1980-s-made-in-usa" style="text-align: justify;">Peavey T-15</a><span style="text-align: justify;"> electric guitar (with </span><a href="https://reverb.com/item/2393729-peavey-audition-110" style="text-align: justify;">Peavey Audition 110</a><span style="text-align: justify;"> amp) that my parents had got me for my 16th birthday the summer before at The Music Barn, a really nice little music store in town. I was getting lessons from Jim McCarthy, a recent GIT graduate who was a good teacher and a great player. <a href="http://www.onthisday.com/events/date/1987/june"> </a></span><a href="http://www.onthisday.com/events/date/1987/june">As far as what ELSE was going on in June of 1987</a><span style="text-align: justify;">, <a href="http://baseballhall.org/hof/griffey-jr-ken">Ken Griffey, Jr. was the #1 overall pick</a> in the Major League Baseball draft (I saw him play the next season, the first in a Hall of Fame career) and <a href="http://baseballhall.org/hof/seaver-tom">Tom Seaver retired</a>. In geopolitics, <a href="https://en.wikipedia.org/wiki/Margaret_Thatcher">Margaret Thatcher was re-elected Prime Minister</a> of Great Britain, and the next day, <a href="https://en.wikipedia.org/wiki/Tear_down_this_wall!">Ronald Reagan famously urged Soviet Premier Mikhail Gorbachev to "tear down" the Berlin Wall </a>(Germans saved him the trouble three years later). And in music/comestibles, <a href="http://www.benjerry.com/whats-new/2015/cherry-garcia-story">Ben and Jerry's ice cream introduced Cherry Garcia</a> to the world. </span><br />
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The cover of <i>Guitar Player </i>promised a typically eclectic mix of subjects, from cover artist John Scofield (who had just begun a career as a bandleader after playing with Miles Davis), a 20th anniversary look back at Monterey Pop, a feature on the "guitars of "Graceland" (the latest from Paul Simon, who had, of course, played at Monterey) and a featurette on quirky husband and wife duo "Timbuk 3". The cover also promised something called "In Color! Vintage Beauties", which may or may not have drawn my adolescent attention (it turned out to be about old guitars). Elsewhere in the issue are articles about steel guitarist Steve Fishell, bassist Neil Jason and classical guitarist Jorge Morel (including a soundpage I have never listened to). There are also some interesting product reviews and even a guitar focused review of "The Joshua Tree" the latest album from Irish rockers U2 which is now being celebrated for its 30th anniversary with a world tour ("youthful fire meets the wisdom of age on U2s most fully-realized studio album. The Edge reprises the propulsive rhythms that have made him one of the most imitated guitarists of the 1980s").<br />
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I was somewhat familiar with John Scofield at the time, as I used to listen to "Fusion Fridays" on WRTI, the jazz station out of nearby Temple University. I can't remember if I ALREADY had his album "Blue Matter", or if I got the cassette after reading this article, but I know that I found him and his music quite interesting, and the article had a lot to chew on. The title was "Miles Beyond" (get it?) and the crux was that Scofield was starting his solo career with the endorsement of jazz legend Miles Davis ("the legendary trumpeter's eye for talent is unquestionable").<br />
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While I didn't notice this at the time, it is clear on revisiting these old issues that the editors of <i>GP </i> were eager to engage with their interviewees on a level much deeper than just "tell us about your latest release". <a href="http://icarusanybody.blogspot.com/2017/05/my-back-pages-thirty-years-ago-in.html">In the previous month, editor Dan Forte tried to push bluesman Robert Cray about race</a>, and in this cover story, the subtext was about jazz and whether or not it is "superior" to other kinds of music. One of the first questions asked Scofield to categorize different types of music, and his answer was very thoughtful:<br />
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"Music can't accurately be described with words, but categories do exist, because people play out of certain idioms. When you categorize music, there's a danger of placing one form over the other. For instance, you can't say that jazz is better than rock, because there's always going to be some jazz that you don't like and some rock that you don't like. </blockquote>
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But don't get me wrong; I'm not trying to compare the Kingsmen with John Coltrane. For decades people have gone around and put down jazz on the basis that classical music is a higher art form. Musicians speak in terms of categories as much as writers do, but I try to be open to all kinds of stuff, although just because I like one thing doesn't mean I like all of it. For instance, I like Billy Idol, but I hate a lot of other groups. I've seen Billy Idol a couple of times and when I close my eyes and listen to what he's singing, I think that his phrasing is pretty good. I also sort of like his guitar player [Steve Stevens]. On the other hand, Twisted Sister has never moved me in any kind of musical way."</blockquote>
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<i>When you say that the Kingsmen can't be compared to John Coltrane, aren't you implying that only the best rock is better than the worst jazz?</i></blockquote>
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"I'm not even going to get into it, because beautiful, poignant music--regardless of type--is all the same things. There have been periods where I've listened to lots of Ray Charles and Ornette Coleman, but I never thought "This is good, but it's not as serious as Bach". I love Duke Ellington, and his music has infinite mysteries to me, but I cant say that it's better than Howlin' Wolf, because I love both things in different ways. When you compare music, you lose the joy of listening to it."</blockquote>
I've always found Scofield to be a deeply thoughtful person and his music is widely varied; it's neat to see that he's always been like this.<br />
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As I write this, it's a week away from the <a href="https://en.wikipedia.org/wiki/Monterey_Pop_Festival" style="text-align: left;">50th anniversary of the Monterey Pop </a><span style="text-align: left;">festival, the first of the famous outdoor music festivals and a highly influential one, as <a href="https://www.youtube.com/watch?v=xNrygTqx0FA">the film of the event</a> introduced acts like Jimi Hendrix, Janis Joplin and Otis Redding (not to mention Hugh Masekela, Ravi Shankar and the Jefferson Airplane) to wider American audiences. In this issue, </span><i style="text-align: left;">Guitar Player</i><span style="text-align: left;"> included a five page spread by legendary rock photographer Jim Marshall, who shared some of the images he captured at the festival, along with his memories. I was a big fan of what was even then being called "classic rock", so I totally ate up these pictures. The caption of the photo at the bottom right is neat:</span></div>
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"Brian Jones walking around the Fairgrounds with Jimi. Here's a guy in the Rolling Stones, and people did not mob him. There was no threat, just a peaceful crowd. Can you imagine Sting doing that today? It just wouldn't happen--he'd get mobbed." It's funny that the closest comparison 20 years later that Marshall could think of was Sting. It's also sobering that both men had already been dead for nearly two decades, and neither was older than 26 when the picture was taken. I'm glad we still have Sting in 2017!</div>
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<a href="https://4.bp.blogspot.com/-m61dG4dZbsk/WUBzYhyAXrI/AAAAAAAABzo/cCbQJHNkrm05BEdJ1HGEP2Fzgp9GEXKMQCLcBGAs/s1600/Graceland%2B1-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="320" src="https://4.bp.blogspot.com/-m61dG4dZbsk/WUBzYhyAXrI/AAAAAAAABzo/cCbQJHNkrm05BEdJ1HGEP2Fzgp9GEXKMQCLcBGAs/s320/Graceland%2B1-1.jpg" width="247" /></a>One of the most interesting articles, both at the time and now was "The South African Guitars of Graceland" which profiled guitarist Ray Phiri and bassist Bahiti Khumalo, who added such wonderful African rhythms to Paul Simon's <a href="https://en.wikipedia.org/wiki/Graceland_(album)">Grammy winning</a> album. I heard the hits on the radio (and saw <a href="https://www.youtube.com/watch?v=uq-gYOrU8bA">the video with Simon and Chevy Chase for "You Can Call Me Al" </a>(one is short, one is tall, and that was funny in 1987) so I was quite interested in learning more. I also was a budding liberal teenager in the mid-80's which meant I was totally opposed to apartheid, without quite knowing what it was all about.<br />
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The article never alluded to <a href="https://en.wikipedia.org/wiki/Graceland_(album)#Controversy">the controversy </a>surrounding Simon's decision to record in South Africa; I just thought it was a cool thing, and this article might have contributed to the reason why. Writer Jon Sievert says that when Simon won the Grammy for Album of the Year "he put the credit right where it belonged--in the hands of the South African musicians who helped create it." Sievert notes that "Simon drew upon some of that troubled nation's finest black musicians to create an artistic success that, uncharacteristically, also translated into commercial success." It was very interesting to learn about Khumalo and Phiri, and about the <i>mbaqanga</i> music they brought to Simon's attention. The article notes that Simon was well-known in South Africa for "Mother and Child Reunion" (another world music tune recorded with Jamaican musicians) and that Khumalo's trademark basslines in songs like "<a href="https://www.youtube.com/watch?v=Fmf9ZJ_Yn0A">Diamonds on the Soles of Her Shoes</a>" were his own ("for the most part, Khumalo was given complete freedom to create his own lines"). Bahiti Khumalo was 30 at the time, and said that his hope was that "Graceland's" success would let him bring his band to the US "I think they will like our music. And back home it's not good, not good."<br />
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Guitarist Ray Phiri was 40 years old, and an established star in his home country; in fact, the article noted "at the time we spoke to Ray during Simon's US tour, 'Graceland' was the #2 album on the South African pop charts, topped only by Stimela [Phiri's band]." Phiri's father was a musician until a work accident disabled him, and the article hints at the poverty experienced by black South Africans:<br />
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"By working after school as a gardener for white families at the equivalent of $1.50 per month, he was able to save enough money to buy a copy of <i>Alfred's Guitar Chords. "</i>I learned to play chords, but I had a problem because I didn't know how to tune the guitar," says Ray. "So I had to work another three months to buy the little tuner that sounds like a harmonica."</blockquote>
I would like to think that I had enough of a social conscience to be appalled that it took three months of hard labor to afford a pitch pipe, but who knows what 17 year old me missed in the obliviousness of youth? That said, what a difference technology makes--now if a young person has access to the World Wide Web, they can get all kinds of guitar instruction for free.<br />
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The article gave quite a bit of interesting insights into the music of "Graceland". Ray Phiri, who was a co-arranger on the album, says:<br />
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"I believe that Paul was looking for a tap that he could open and have ideas pour out. I was that kind of tap. He asked me to give him riffs and grooves, and that's what I did. From there, we started making songs....The album was done and mixed when we went to New York for the <i>Saturday Night Live</i> show. But when we started jamming around, out came "You Can Call Me Al" and "Diamonds on the Soles of Her Shoes" and we went into the studio and recorded them....The album, to me, is the music we used to play in the late '60s and early '70s. "</blockquote>
Sievert says that "For the most part, Simon relied on the rich variety of traditional South African musical styles to build the songs on. To explain them, Phiri compares them with the 'juju' music of Nigerian King Sunny Ade, which has gained a certain amount of popularity in the United States in the past few years":<br />
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"Juju is very close to mbaqanga, but it's a little more monotonous. Once you've heard one artist playing juju, it's like you've heard them all. You'll find our music is quite different. We have mbaqanga, which is our township jazz. We also have our "jive" and Soweto soul music. It's all different. It never gets boring, because it's very much like jazz that relies very heavily on improvisation. Juju depends very much on drums and the drum patterns all end up sounding the same. I don't say that juju music isn't good, but I believe our music is much richer. It's more soul music coming from the heart. It's not easy to write mbaqanga licks. If you try to make a technique out of it, you lose the rawness. It's so syncopated, and you can play up to five guitars at the same time without getting into each other's way."</blockquote>
What an interesting counterpoint to the quote from Scofield in the same magazine! Of course, that could also be due to Phiri needing to differentiate his music to try to get sales. The article noted that it was hard for them to sell their music outside of South Africa:<br />
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"Every time we get a chance to have our records distributed in the States, politics gets in the way," Ray laments. "It's very sad because I would really like my music to be heard around here. Perhaps there is a chance that Paul's album will help change that. But I'm still searching for the missing chord that will combine the Western influence and our traditional music. Maybe we can come up with a sound that will hit the world, and people will say "Wow! This is fresh."</blockquote>
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I've already gone on long enough, but I can't let this issue go without showing the review of Journey guitarist Neal Schon's signature guitar. When I was a teenager, I thought this was unquestionably the most awesome guitar in the world! The review is by Rick Turner (who among other things, popularized neck-through-body designs like the Schon's with his company Alembic), and it's a good review, I just wish it had been in color! Neal Schon has had <b>LOTS</b> of signature guitars over the years (from Aria, Gibson, Paul Reed Smith and others), but this is my favorite. <a href="http://www.nsblues.com/gear/ns_gearns.htm">Here is a webpage that gives more details about these axes</a>--I wish I could play one someday!<br />
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As always, here is a playlist featuring music referred to in the issue. Whether in an article, or a review, or an advertisement, this was some of the sound of June 1987. Enjoy!<br />
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-28713342169829451602017-05-16T20:18:00.002-04:002017-05-17T22:11:07.379-04:00My Back Pages: Thirty Years Ago in Guitar Player Magazine (May 1987)<div class="" style="clear: both;">
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<span style="text-align: justify;"><br /></span><span style="text-align: justify;"><span style="text-align: justify;">Welcome back to the newest series here on the blog. I was incredibly gratified to receive so many positive comments about the <a href="http://icarusanybody.blogspot.com/2017/03/my-back-pages-thirty-years-ago-in.html">first installment back in March </a>on the guitar related blogs and message boards I frequent. To recap, </span><a href="http://www.ethanlewis.org/gtr00/" style="text-align: justify;">I have been playing guitar since 1986</a><span style="text-align: justify;">, and I have a collection of </span><i style="text-align: justify;"><a href="http://www.guitarplayer.com/">Guitar Player</a></i><span style="text-align: justify;"> magazines that stretches back to the fall of that year. Each month I will write a new post looking at the issue that was published exactly 30 years ago; the goal is to try to remember what I learned from the issue at the time, but also what someone reading the issue for the first time today might notice. Each post will also have a Spotify playlist with some of the music referred to in the issue.</span></span></div>
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<span style="text-align: justify;">Well without further ado, let's go back in time. In May, 1987 I was wrapping up 11th grade at <a href="http://www.centennialsd.org/wt">William Tennent High School </a>in Warminster, Pennsylvania. Guitar wise, there were no changes--I had an old classical (nylon-string) acoustic of my aunt's, and a </span><a href="https://reverb.com/item/4388085-peavey-t15-electric-guitar-1980-s-made-in-usa" style="text-align: justify;">Peavey T-15</a><span style="text-align: justify;"> electric guitar (with </span><a href="https://reverb.com/item/2393729-peavey-audition-110" style="text-align: justify;">Peavey Audition 110</a><span style="text-align: justify;"> amp) that my parents had got me for my 16th birthday the summer before at The Music Barn, a really nice little music store in town. </span><a href="http://www.onthisday.com/events/date/1987/may">As far as what ELSE was going on in the spring of 1987</a><span style="text-align: justify;">, Democratic Presidential hopeful Sen. <a href="http://www.vanityfair.com/news/1987/09/gary-hart-failed-presidential-campaign">Gary Hart was up to some "Monkey Business" with Donna Rice</a>, my <a href="http://www.blindfiveyearold.com/flyers-1987-stanley-cup-playoffs">Philadelphia Flyers hockey team advanced to the Stanley Cup finals against Wayne Gretzky's Edmonton Oilers </a>(the orange and black lost in 7 games), <a href="https://jdmitchelldesigns.wordpress.com/tag/live-models-were-used-for-the-first-time-in-playtex-bra-ads/">Playtex was the first company to show women wearing bras on tv commercials</a>, and more seriously, <a href="http://www.navybook.com/no-higher-honor/timeline/uss-stark-on-fire/">37 sailors were killed when the U.S.S. Stark was attacked by an Iraqi jet </a>during the Iraq-Iran war (during which the Reagan administration famously attempted to play both sides against the middle).</span><br />
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In the pages of <i>Guitar Player</i>, blues musician Robert Cray (whose songs "Strong Persuader" and "Right Next Door" were radio and MTV hits) was on the cover, along with a small picture of roots rockers Georgia Satellites (whose "Keep Your Hands To Yourself" was a BIG video hit). The cover also told us that one-hit wonders David+David would be profiled, along with the highlights from the 1987 National Association of Music Merchants (NAMM) tradeshow. Finally, the cover touted a free record of a live recording of Cray onstage with Eric Clapton playing Cray's song "Phone Booth". Back in those pre-digital download days, <i>GP </i>included a vinyl "<a href="https://en.wikipedia.org/wiki/Flexi_disc">flexidisc</a>" record each month. I remember how excited I was to detach them from the perforations, carefully lay them on top of an actual 12 inch LP, and put them on the turntable. Fortunately for us, <a href="https://www.youtube.com/watch?v=RQQynfQkwjw">someone out there has saved his copy and posted it on YouTube</a>. Sounds pretty good!<br />
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One of the things I want to try to do in these blog posts is try to remember what I learned from these articles <b>at the time</b>, and also to show what can be gleaned from them today. The version of me who was around in May, 1987 spent a lot of time listening to the radio and watching MTV. I was already really into the blues--I'd bought a few LPs by mail order from <a href="http://www.alligator.com/">Alligator Records</a> so I was excited to see Robert Cray on the cover. That said, the only thing that jumped out at me then was that he had <a href="http://www.allmusic.com/album/showdown%21-mw0000189542">played with Albert Collins and Johnny Copeland</a> on a Grammy winning record, and that Collins had played his high school prom (and that Jimi Hendrix had played his high school as well). The coolest band to play in my suburbs was the Hooters, and even that was at the Catholic school, so I was probably jealous!<br />
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Reading the article now, I notice right from the get go that there was more going on--the title of the article was "The Great Blues Hope", and the interview with Dan Forte put a lot of focus on the issue of the aging of original bluesmen and the need for new (preferably African-American) successors. Forte's questions indulged in terms I didn't understand as a teenager, but can't miss now:<br />
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<li>"<i>It seems you haven't consciously compromised to cross over; you've always done the same stuff.</i>"</li>
<li>"<i>When you hooked up with a major label, were there any commercial considerations when it came time to pick material?"</i></li>
<li><i>"None of the tracks on 'Strong Persuader' are really straight ahead blues....Do you feel comfortable with the blues label?"</i></li>
<li><i>"As far as your guitar playing goes...how much of what you do stems from straight-ahead blues and who are the other sources?"</i></li>
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"<i>Since most of the young blues players coming up seem to be white, critics and writers and to some degree, fans...have been searching for a long time for some young blacks to carry on the tradition. With the kind of success you are having now, do you feel any pressure or responsibility in the fact that, whether you like it or not, you're pretty much thrust into that role?"</i><br />
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For the record, Cray answered the last question with "I don't even think about it", even though he acknowledged hearing it a lot. My thoughts on this 30 years later are that the focus on recruiting a black "young face of the blues" (presumably to contrast with <a href="http://icarusanybody.blogspot.com/2010/08/rip-srv.html">Stevie Ray Vaughn</a> among young blues guitarists) makes me a little uncomfortable. Also, I will confess that it took me a long time (decades) to really appreciate Robert Cray's music, and I wonder if Forte's questions implying that he wasn't "really" a blues traditionalist played a role?<br />
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The Georgia Satellites article was quite interesting--it was actually two separate short pieces on the group's two guitarists, Rick Richards and Dan Baird. I really loved the "Keep Your Hands To Yourself" video and the tune was on the radio a lot back then. 17-year old me didn't get all the references to artists who influenced the duo, but I do know that I used it as part of my research to find cool records! Back then I was quite methodical about tracking down influences; while I didn't "get" Robert Johnson (for instance), I knew what he'd meant to Eric Clapton so I bought his records. These interviews definitely helped point me towards records like <i>Sweetheart of the Rodeo</i> by the Byrds, the Mick Taylor era Rolling Stones, and contemporary artists like Mike Campbell of the Heartbreakers and Pete Anderson of Dwight Yoakam's band.<br />
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David+David (Ricketts and Baerwald) were a duo that put out a very atmospheric record called <i>Welcome to the Boomtown</i>, and the title track got radio and video play at the time. I liked that song, and I have come to really like the album (I listen to it several times every year, usually when I want to experience 80's cocaine-fueled ennui and paranoia). The article is kind of interesting from a "LA Studio Guys" kind of way, but doesn't yield any clues as to why they never made another record. Interestingly, it takes <a href="https://en.wikipedia.org/wiki/David_%26_David">a trip to Wikipedia to learn that both men were part of the Tuesday Night Music Club that led to Sheryl Crow's</a> first major LP after she stopped singing backup for Michael Jackson.<br />
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The NAMM roundup is interesting in the way that it starts with what were probably rather esoteric products (signal processors and MIDI gear) and only talks about amplifiers on the third page. It's a bit boring due to the black-and-white pictures, but making me feel VERY old indeed is the focus on Marshall's 25/50 amplifiers, celebrating the company's quarter century of making eardrums bleed with special silver colored amps, cabinets and combos. These might be familiar to you as <a href="http://www.slashparadise.com/equipment/amps-slash.php">a key part of Slash's sound with Guns and Roses</a> (maybe he ran out and got his after reading this issue?), or from the fact that <a href="https://www.premierguitar.com/articles/24184-marshall-jcm-2550-2555x-silver-jubilee-review">the amps were <b>reissued</b> last year</a>. In a fun twist, Mike Kapolka, a former student of mine, is the guitarist for <a href="https://www.facebook.com/downtosixpa/">upcoming band Down To Six</a>, and he plays an original Silver Jubilee amp.<br />
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Another article that really stands out for me is the feature "Show Guitar: Playing The Pits From The Boondocks To Broadway", by Frank Jermance, a professor of music management at University of Colorado-Denver (who apparently had a background as a pit guitarist in road companies of <i>Cats, Eubie, Annie, The Sound of Music</i>, and other shows). I was a pretty serious theatre guy in high school and was seriously considering a career backstage; in the month of May I was also super interested in picking the brain of the professional guitarist who played my high school's production of <i>The Music Man</i>. I was the house manager, and I enjoyed talking to him--he played a headless Steinberger guitar, and told me it was because space in a pit was so limited. I remember talking to him about this article, in fact!<br />
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Jermance has lots of important advice, mostly about learning to sight read, and being able to follow a conductor's directions. But he also gets down to the nitty-gritty, with specific tips like:<br />
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<li>"<i>A competent show player should be able to manage styles from Atkins to Zappa</i>". This resonated with me, because my teacher at the time was Jim McCarthy who had graduated from the Guitar Institute of Technology. He told me about the jazz classes, country classes, blues classes, and so on that he had to take to get a "Professional Guitarist" diploma.</li>
<li>"<i>Your basic amp should be no larger than a Fender Twin Reverb...since the guitarist is often allocated a three-foot square space</i>"</li>
<li>"<i>You must have a good quality flat-top with a natural-sounding pickup, a nylon-string guitar with some kind of pickup, an amplifiable archtop, and a "hybrid" electric guitar that is capable of producing the clarity of a Tele and Strat as well as a "fat" Les Paul sound on demand. You'll also need a banjo and a mandolin, both of which can be tuned like the top four strings of a guitar.</i>" That's quite a guitarsenal! <a href="http://ethanlewis.org/gtr00/">And thus was my lifelong journey begun</a>....</li>
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My favorite article on re-reading the magazine is the long feature on Nashville session guitarist Brent Rowan. <i>Guitar Player</i> was very helpful in introducing me to country music (which wasn't on Philadelphia FM radio in the '80s, but could be found on Cable TV on The Nashville Network and Austin City Limits), and esoteric treats like the <a href="https://en.wikipedia.org/wiki/Nashville_number_system">Nashville number system of music notation</a>, which has always made more sense to me than traditional music notation. Anyway, the article about Rowan was called "Brent Rowan's Nashville Notebook", and it is really fascinating. Besides giving a standard interview describing his approach to recording on Nashville sessions, and in doing so, reveals just how much pressure Nashville cats faced (emphasis mine):</div>
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"<i>We are directly competing with New York and L.A. sound wise and player wise. I can't prove this, but <b>someone at the union office told me that there are more records being made in Nashville than anywhere else</b>. The guys doing most of the session work here can play anything that you want at anytime, in any kind of style. Part of what we're fighting is the image that the only thing that comes out of here are Mel Tillis and George Jones records. </i></blockquote>
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<i>Country music has changed and broadened a lot. <b>The more contemporary Christian things are some of the hipper stuff being done</b>. Versatility comes into play here, because <b>you may have to do an Albert Lee or Ricky Skaggs-type tune on the same session that you have to do a ZZ Top or Larry Carlton kind of thing</b>. Players have to be able to do anything because the album budgets are typically smaller, so there are fewer spots. You don't have one date to do just one track, like you might in L.A. <b>In two sessions--six hours--you may have to do two to seven master quality songs</b>....For a guitar slot to be open you've got to be versatile. My record collection goes from Ricky Skaggs to Bryan Adams to Hendrix to Tina Turner to Timbuk 3. I need to be aware of everything, so if the producer says 'Make it sound like the new Pretenders album', I'll know what he means.</i>"</blockquote>
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Pretty neat. Also neat to me is that Rowan's article makes several mentions to the musician's union, and Jermance also spent a lot of time talking about the importance of being in the union, and explaining union wages for pit musicians. I don't see that as much nowadays, perhaps due to the proliferation of "right to work" laws in the last few decades?</div>
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The highlight of the article was "A Week in the Life of Brent Rowan", where he detailed each of the sessions he played. <a href="http://ethanlewis.org/gtr00/Merged-Rowan.jpg">Click here for a larger copy of the picture below that you can read</a>:</div>
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One of the things that jumps out at me now is that twice in the week he did after hours rehearsals with a "writer for Tree Publishing..[who fronts] a Louisiana swamp-rock band, to help him get a record deal." The name of that up and coming songwriter? <a href="https://en.wikipedia.org/wiki/Kix_Brooks">Kix Brooks,</a> who became part of Brooks and Dunn and has sold over 30 million records. What a great sense of being a fly on the wall this article provides!</div>
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<a href="https://4.bp.blogspot.com/-r3tn-4DLsDI/WReNF34I_AI/AAAAAAAABxc/wXbb7YNDRmw6ZmI-amu6n6ywy2LG_ul3gCPcB/s1600/GP587-Mr335.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/-r3tn-4DLsDI/WReNF34I_AI/AAAAAAAABxc/wXbb7YNDRmw6ZmI-amu6n6ywy2LG_ul3gCPcB/s400/GP587-Mr335.jpg" width="312" /></a>The Spotify playlist below has some of the music referred to in the issue. I've also included jazz guitarist Larry Carlton's "Last Nite" for two reasons--first, the ad on page 138 (pictured at left), and also because my teacher was at the concert at Hollywood's Baked Potato club that made up the bulk of the record. It was really neat because he told me about what the show was really like--apparently the horn section on several songs wasn't actually there, but was overdubbed later. You can bet that I tucked that little tidbit away and have always been drawn to live albums with as little post production "sweetening" as possible. </div>
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I hope you liked this look back at <i>Guitar Player</i> in the spring of 1987. I'll be back in June with another installment. Until then, bass columnist Herb Mickman reminded his readers "If it sounds good, it <i>is</i> good!"</div>
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<iframe allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/user/1211830735/playlist/5JvvUQUE3hlswenMuRW7Fc" width="300"></iframe>Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com1tag:blogger.com,1999:blog-428900226049233659.post-57953835011319805772017-03-05T19:12:00.000-05:002017-03-06T13:47:30.803-05:00My Back Pages: Thirty Years Ago in Guitar Player Magazine (March 1987)<div class="" style="clear: both; text-align: left;">
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<span style="text-align: justify;"><span style="text-align: justify;">Welcome to a new series here on the blog. As you might know from previous posts, </span><a href="http://www.ethanlewis.org/gtr00/" style="text-align: justify;">I have been playing guitar since 1986</a><span style="text-align: justify;">, and I have a collection of </span><i style="text-align: justify;"><a href="http://www.guitarplayer.com/">Guitar Player</a></i><span style="text-align: justify;"> magazines that stretches back to the fall of that year. I am missing a small number of issues, but in the main I have carried these magazines with me through eleven moves in five states over the last three decades. </span></span></div>
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The 275 issues in my possession from October 1986 (which I bought in the music store where I had my first guitar lesson) through March, 2010 when I ended my subscription due to frustration with poor editing, shallow writing and unhelpful gear reviews have been my faithful companions--I've read every issue more than once, and several have been read more times than I can count. Especially in the days before the World Wide Web, <i>Guitar Player</i> ("The Guitar Player's Bible") was the most authoritative source of information about the instrument, its history, its players, and how to play it. Even through the 1990's, the magazine was the best way to stay current with gear, music, trends and topics related to the guitar.</div>
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I've decided to write a post each month where I will look through the <i>Guitar Player</i> from exactly thirty years prior. Each post will show the cover, describe the feature articles and highlight any cool ads, lessons or other content that stands out. I'll also try to discuss what I learned from them at the time, and how they shaped my approach to music. Finally, I'll also point out what will now look like anachronisms: whether it's once expensive gear that is now obsolete, or the kind of content (such as explanations of digital music) that is now considered common knowledge. Each post will also have a Spotify playlist with some of the music referred to in the issue.</div>
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I think that this will be a very interesting and educational look back at what was considered important, current, and popular music decades ago. It will also frequently demonstrate that while times change, topics of discussion do not.<a href="http://icarusanybody.blogspot.com/2015/11/my-back-pages-look-at-guitar-player.html"> I wrote in this space last year about the economics of guitar building</a>, a topic which (like tropical trees) seems never to go extinct; topics such as "the future of guitar" will appear throughout the series--whether as comfortable bragging during the axe-heavy hair metal '80s or as fraught hand-wringing during the flannel-clad grunge '90s, and <a href="http://www.spin.com/2015/10/guitar-hero-live-future/">that is still a topic</a> that causes <a href="https://www.reddit.com/r/Guitar/comments/1uhmox/what_do_you_think_is_the_future_of_guitar/">people to wonder even now.</a></div>
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<span style="text-align: justify;">Well without further ado, let's go back in time. In March, 1987 I was in 11th grade at William Tennent High School in Warminster, Pennsylvania. Guitar wise, I had an old classical (nylon-string) acoustic of my aunt's, and a </span><a href="https://reverb.com/item/4388085-peavey-t15-electric-guitar-1980-s-made-in-usa" style="text-align: justify;">Peavey T-15</a><span style="text-align: justify;"> electric guitar (with </span><a href="https://reverb.com/item/2393729-peavey-audition-110" style="text-align: justify;">Peavey Audition 110</a><span style="text-align: justify;"> amp) that my parents had got me for my 16th birthday the summer before at The Music Barn, a really nice little music store in town. </span><a href="http://www.onthisday.com/events/date/1987/march" style="text-align: justify;">As far as what ELSE was going on in the spring of 1987</a><span style="text-align: justify;">, the tv show "</span><a href="http://www.imdb.com/title/tt0084967/?ref_=nv_sr_2" style="text-align: justify;">The A Team</a><span style="text-align: justify;">" went off the air, </span><span style="text-align: justify;">"Les Miserables" began its lengthy Broadway run and televangelist </span><a href="https://en.wikipedia.org/wiki/Jim_Bakker" style="text-align: justify;">Jim Bakker</a><span style="text-align: justify;"> left his show PTL after an affair with his assistant, </span><a href="https://en.wikipedia.org/wiki/Jessica_Hahn" style="text-align: justify;">Jessica Hahn</a><span style="text-align: justify;"> (later the "star" of "comedian" </span><a href="https://www.youtube.com/watch?v=mwNW8lqe1tk" style="text-align: justify;">Sam Kinison's music video for "Wild Thing</a><span style="text-align: justify;">"). In that year's Academy Awards, "</span><a href="http://www.imdb.com/title/tt0091763/?ref_=nv_sr_1" style="text-align: justify;">Platoon</a><span style="text-align: justify;">" took Best Picture, and </span><a href="http://www.imdb.com/name/nm0000056/?ref_=nv_sr_1" style="text-align: justify;">Paul Newman</a><span style="text-align: justify;"> and </span><a href="http://www.imdb.com/name/nm0559144/?ref_=nv_sr_1" style="text-align: justify;">Marlee Matlin</a><span style="text-align: justify;"> won Best Actor and Best Actress. Interestingly, that same month, </span><a href="https://en.wikipedia.org/wiki/August_Wilson" style="text-align: justify;">August Wilson's</a><span style="text-align: justify;"> play "Fences" premiered in New York and thirty years later, </span><a href="http://www.imdb.com/name/nm0205626/?ref_=nv_sr_1" style="text-align: justify;">Viola Davis</a><span style="text-align: justify;"> won an Oscar for her role in the film version. Oh, and in actually important news, </span><a href="https://reaganlibrary.archives.gov/archives/speeches/1987/030487h.htm" style="text-align: justify;">President Ronald Reagan went on television to "take full responsibility" for the criminal conspiracy</a><span style="text-align: justify;"> known as the </span><a href="https://en.wikipedia.org/wiki/Iran%E2%80%93Contra_affair" style="text-align: justify;">Iran-Contra Scandal</a><span style="text-align: justify;">. </span></div>
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In the pages of <i>Guitar Player</i>, jazz musician Mike Stern (promoting his first solo record "Upside/Downside") and his uni-brow were on the cover, along with a small picture of bassist Bruce Thomas of Elvis Costello's band The Attractions. The cover also touted a "free record" inside from Adrian Belew. Back in those pre-digital download days, <i>GP </i>included a vinyl "<a href="https://en.wikipedia.org/wiki/Flexi_disc">flexidisc</a>" record each month. I remember how excited I was to detach them from the perforations, carefully lay them on top of an actual 12 inch LP, and put them on the turntable.<br />
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Other highlights on the cover were an interview with the guitarists and bassist of then new sensation band The Smithereens, a new instructional article from bass superstar (and 1980's #1 go to bassist) Nathan East, and the usual reviews of new gear.<br />
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One of the things I want to try to do in these blog posts is try to remember what I learned from these articles <b>at the time</b>, and also to show what can be gleaned from them today. The version of me who was around in March, 1987 was totally absorbed by music, nearly evenly splitting his listening time between MTV, Philadelphia rock stations WMMR and WYSP and jazz radio station WRTI (especially their "Fusion Friday" show). I had just begun taking guitar lessons from a man named Jim McCarthy who had recently graduated from the Guitar Institute of Technology in Hollywood and was eager to learn music theory, though I had no training and no patience to learn how to read.<br />
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With that in mind, the article about Adrian Belew's new record, <a href="https://open.spotify.com/album/4gXTnDtHcHBIbmXQqws2RP"><i>Desire Caught By The Tail</i> </a>went almost totally over my head, dealing as it did with advanced technology like guitar synthesizers and sequencers, and the one about Mike Stern and his new album, <i><a href="https://open.spotify.com/album/1CB8TMLZCvOHOTAvQEihir">Upside/Downside </a></i>was also pretty hard to get through, as it was written for an audience that was familiar with jazz, jazz musicians, and record production. Having said that, looking at them now, what strikes me in Belew's piece was how fluent he was at embracing then "bleeding-edge" technology and making rigorous, challenging music with it. Similarly, what stands out in the Stern article is the frankness with which it approached the drug and alcohol use that had sidetracked his career throughout the early Eighties.<br />
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The cover story was written by <i>GP</i> editor Jim Ferguson, and he opens up the article by saying that "...for the past 10 years, he's been one of jazz' best kept secrets, largely due to his shy modesty and drug problems, which he has put behind him." Later in the piece, Stern says "Only recently have I started to realize that there's a hell of a lot more to life than just drinking and drugging. But there's a lot more to life than just music and the guitar, too....It's nice to read a book once in a while, too, you know?" I still read music publications today, and it seems that now it is much rarer to see people be open about their drug use. <br />
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The article with Bruce Thomas was probably of superficial interest to me then (not knowing much of Elvis Costello's work at the time, nor caring about bassists), but is fascinating now. Thomas describes life coming up as a musician in England in the 1960s (as a blues guitarist), and becoming a bass player for Costello in the early days of punk rock. At one point, he's asked if the band felt "out of place" being tagged as a "punk" band since so many of them (except for Costello) had so much experience in groups. His answer is worth quoting:<br />
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"Not really. A lot of the time we played too fast because we were nervous. And a lot of the time for more dubious reasons [<i>laughs</i>] that had to do with the era. We were working so hard, we used to basically drink a lot of vodka and take a lot of cocaine--it was as simple as that. So we played too fast. We were just doing gigs and getting on the bus and doing gigs. We didn't have five days off in the first two years. We were basically fried.</blockquote>
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....I was never a person who listened to rock music at home; I always listened to Baroque or some sort of ethnic music. Steely Dan was about the nearest I got to rock, and Elvis thought I was a bit of a wimp. He was the guy who was champing at the bit and frothing at the mouth. He had never been in a band before, never been on a bus before, never seen a groupie before. Conversely, I was playing in bands and was saying "Aww, for God's sake, you can't keep playing this lame sort of sub-California Eagles shit." The only exciting bands around at the time were...Dr. Feelgood. Let's get some good old British R&B; let's get the beat back into it! Never mind about this "Take It Easy" and "Trucking Down The Freeway Of Life's Stoned And Moody Mind With My Little Denim Lady in LA" I quite like redblooded music..."</blockquote>
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What an interesting assessment of different musical styles and the appeal they had at the time (and what kind of groupie did Elvis Costello attract?). Now, I understand Dr. Feelgood and respect them as a solid "pub-rock" "good old British R&B" group, but in 1986 I would have probably bristled at anyone saying anything bad about the Eagles. <i>Plus ça change</i>...<br />
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Another article that really stands out for me is the feature "Tax Tips for Guitarists: What the New Laws Mean To You", by Kent Klavens a "Los Angeles-based entertainment-industry attorney". Written after the <a href="https://en.wikipedia.org/wiki/Tax_Reform_Act_of_1986">Tax Reform Act of 1986</a>, Klavens directed his advice both "to the richest and most successful among you, while other items are directed to the 'starving artist' types." This article is one of a kind that we will see over and over in this series--in the days before the internet, <i>Guitar Player</i> took its reputation as the "bible" for axe slingers seriously, and they often engaged with serious issues that would have been meaningless to 16 year old me, but of great import to my 25 year old teacher Jim, who was giving lessons out of his bedroom in Warminster, PA.<br />
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Gear wise, the magazine was full of advertisements for the latest and greatest guitars, amps and effects. Nowadays, much of the advertising for guitars touches on "vintage" and "familiar" styles, but in the mid-1980's eyes were firmly fixed on the future. Needless to say, few people (besides rock stars) could afford a $10,000 "SynthAxe" controller--that would be about $21,400 now--but while it seems fascinating that they would advertise such an instrument, many people thought that they were the future. The fact is, the 80's were a heyday of synthesizer sounds in music, and if guitarists wanted to keep up (and couldn't play keyboards) they needed to find a way to contribute. No less a guitar hero than Eric Clapton had played synthesizer guitar extensively on his 1985 album <a href="https://open.spotify.com/album/25OQgeNzT4EfbLS02TarVB"><i>Behind The Sun</i></a>, and it seemed like everyone would be doing so soon. In fact, when I went to college in 1988 the lead guitarist in my band (more on that in future posts) had a Roland guitar synth controller, so they were definitely "out there" even for amateur musicians.<br />
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My teacher could play INCREDIBLY fast, and he told me that he'd played several guitar synths, but they could never keep up with him (so much for "lightning fast picking"), but he was convinced that all guitarists would be playing synths one day. I'm sure glad that hasn't come to pass yet!<br />
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Obviously if you want to be a rock star, you have to have records for people to listen to. Fortunately the mid-1980s saw a proliferation of relatively inexpensive recording technology that utilized then-common cassette tapes to allow a person to plug in a couple of microphones and record a demo tape or live performance. Nowadays, of course my iPhone can record lots more than four tracks, with studio quality effects, and can also export the music to YouTube or some other distribution modality, for free. It might be good for people to remember that the easy to use technology in their pocket is so much more capable than the portable studio that cost $600 ($1,285 today) in 1987. And it would be even better if it would encourage them to record something!<br />
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One of the things that set <i>Guitar Player</i> apart from other magazines back then was the breadth and depth of its lessons and of the musicians who wrote them. Besides Nathan East's debut article "Bass Tracks: Creating the Right Part", the issue also featured Chet Atkins, Larry Coryell (<a href="https://www.bostonglobe.com/metro/obituaries/2017/02/24/larry-coryell-master-guitar-player-who-flitted-among-genres/72qSBuS7X7bXPk0khEvgrJ/story.html">who just passed away last month</a>), Rik Emmet of the band Triumph (who was my favorite columnist--we will be hearing a lot about him in future posts); Howard Roberts (the founder of Musician's Institute), Tommy Tedesco (the most recorded studio guitarist ever) and classical virtuoso and professor Benjamin Verdery. Most of these articles were <b>far</b> beyond my comprehension at the time, but over the years I've enjoyed going back over old lessons and trying to use them to broaden my mastery of the instrument. </div>
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One of the articles that I know that I read and took seriously then was by bass legend Jeff Berlin. Titled "Why You Should Learn To Read Music", it is full of valuable information and good reasons supporting it's thesis. Berlin writes :</div>
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"If you love guitar or bass, there is no reason why you shouldn't put in an hour or two every day and learn to read. First of all, your career choices rapidly increase....Reading music gives you authenticity in your playing. It makes information instantly available, plus it puts within your reach music that you would never have thought of, or worse, never thought of practicing and playing. Reading music makes as much sense as reading English."</blockquote>
In retrospect, this article goes very well with the cover story on Mike Stern. Stern had attended Berklee School of Music, and had played with Miles Davis and other jazz legends, but he talks about how a big part of his practicing involves transcribing solos from other instruments (which is impossible without knowing standard notation). I was far too lazy to take Jeff Berlin's advice (which my teacher was also giving me every Sunday), just like I was too lazy to learn how to program the computer my father bought me in 1981 (which is why I didn't become a dot com zillionaire), but it is <b>excellent</b> advice, and you should take it seriously!<br />
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Unfortunately I am missing the April, 1987 issue of <i>Guitar Player, </i>but I'll be back in May. Until then, as Rik Emmett used to say, "Keep picking and grinning"!<br />
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Spotify Playlist: <i>Guitar Player</i> March 1987</div>
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-4805046654847680082016-11-13T19:20:00.002-05:002016-11-13T19:20:49.611-05:00Initial Thoughts on the Presidential Election of 2016<div class="separator" style="clear: both; text-align: left;">
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After what seemed like a four-year campaign, originally featuring over a score of prospective candidates from the two major parties, the Presidential election of 2016 came down to <a href="https://en.wikipedia.org/wiki/Donald_Trump">Donald Trump</a>, a New York real estate mogul and professional portrayer of "Donald Trump" and <a href="https://en.wikipedia.org/wiki/Hillary_Clinton">Hillary Clinton</a>, former Secretary of State, two-term Senator from New York and two-term FLOTUS (First Lady Of The United States). The election <a href="https://www.washingtonpost.com/graphics/politics/2016-election/campaign-finance/">cost billions of dollars</a>, spawned <a href="http://www.p2016.org/ads1/paidads.html">thousands of hours of radio and tv advertising</a>, and generated countless exchanges on Twitter and Facebook. <a href="http://www.nytimes.com/2016/11/09/podcasts/election-analysis-run-up.html">In what came as a surprise to the mainstream media and virtually all pollsters</a>, Trump won a decisive victory in the Electoral College, despite Clinton winning the popular vote (the second Democrat in the last five elections to perform this unlikely feat). As of this writing the Electoral College has yet to meet (that will happen in December), but it looks like Trump should claim at least 290 electoral votes, 20 more than those needed to become the most powerful person in the world. </div>
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I have been a keen observer of Presidential politics since 1984 (I was 14 that year) and it is safe to say that I am a heavy consumer of news and opinion writing. That said, I have been gifted with a remarkable lack of insight and intuition and generally my prognostications are well off the mark. Such brilliant predictions as "<a href="http://articles.latimes.com/1988-02-19/news/mn-29796_1_du-pont-iv">Bruce Babbitt is exactly what America needs in 1988</a>" and "<a href="http://www.nytimes.com/1999/09/27/us/quayle-outspent-by-bush-will-quit-race-aide-says.html">Dan Quayle will be elected President in 2000--count on it</a>" have cemented my reputation as the anti-Nostradamus, so my friends should have taken my 2016 prediction with a grain of salt when I confidently proclaimed that Trump would lose by a giant margin, and would receive fewer votes than any Republican in years. </div>
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<a href="https://2.bp.blogspot.com/-YExxF3KjTvI/WCjnKBWta6I/AAAAAAAABjg/br9UbpzKJ28UALsxRUQra9z7BLiVPISEgCEw/s1600/Screen%2BShot%2B2016-11-13%2Bat%2B5.19.34%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-YExxF3KjTvI/WCjnKBWta6I/AAAAAAAABjg/br9UbpzKJ28UALsxRUQra9z7BLiVPISEgCEw/s400/Screen%2BShot%2B2016-11-13%2Bat%2B5.19.34%2BPM.png" width="400" /></a>But as I stayed up until 3AM on election night waiting to see what would transpire, I realized that in a way I was on to something. Far fewer people voted this year than normally do, and while numbers have changed the picture somewhat from the tweet at left I stand by my thesis that "unpopular choices and negativity" resulted in the large number of non-voters in 2016.<br />
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<br />To be sure, it's not like America is a place where most people who have a chance to vote actually cast ballots. <a href="https://en.wikipedia.org/wiki/Voter_turnout_in_the_United_States_presidential_elections#Youth_voting_turnout">Our friends at Wikipedia have a nice page on voter turnout</a>, and in the eleven Presidential elections in my lifetime, the average participation of eligible voters has been 53.4%. Every one of these elections came after <a href="https://constitutioncenter.org/interactive-constitution/amendments/amendment-xxvi">the 26th Amendment expanded the franchise to include all Americans over the age of 18</a>, and includes the pathetic election of <a href="https://en.wikipedia.org/wiki/United_States_presidential_election,_1996">1996, when Bill Clinton was re-elected with 49% of the vote of the 49% of the voters who voted</a>. The Pew Center shows us that Americans are not disposed to expressing their opinion at the voting booth, especially compared to other countries.<br />
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Answers to the perpetual question of <a href="https://www.washingtonpost.com/news/the-fix/wp/2016/05/12/why-dont-more-americans-vote-in-presidential-elections/">"Why don't more Americans vote for President"</a> range from dissatisfaction with the choices, to disfranchisement of people with criminal records, to feeling of disempowerment on the part of the poor and minorities, to the difficulty in taking time on a weekday to stand in line and vote. I hinted at this in a more alarmist tweet as election night turned into a dark, rainy day:</div>
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<a href="http://pcl.stanford.edu/common/docs/research/iyengar/1996/goingneg.html">Political scientists have long believed that negative advertising contributes to polarization and shrinking of the total number of voters</a>, and anyone who's been in the USA for the last year knows that the negativity permeated, not just advertising, but all kinds of interactions, especially on social media. And in cases like <a href="http://journalistsresource.org/studies/society/social-media/facebook-political-polarization-data-science-research">Twitter and Facebook, where people tend to see what is "liked" or created by those they follow, the result is often a "filter bubble" that results in reinforcement of what people already believe, rather than exposure to a wider range of ideas</a>.</div>
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If we take a close look at the results of the last five Presidential elections, we can see that things are actually a little more complicated than we typically think. My favorite "go to" resource for results of American elections is the wonderful "<a href="http://uselectionatlas.org/">Dave Leip's US Election Atlas</a>". You can see detailed breakdown of the elections here:<br />
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<li><a href="http://uselectionatlas.org/RESULTS/national.php?year=2016&minper=0&f=0&off=0&elect=0">2016 Election Results</a> (as of 11/13/16)</li>
<li><a href="http://uselectionatlas.org/RESULTS/national.php?year=2012&minper=0&f=0&off=0&elect=0">2012 Election Results</a></li>
<li><a href="http://uselectionatlas.org/RESULTS/national.php?year=2008&minper=0&f=0&off=0&elect=0">2008 Election Results</a></li>
<li><a href="http://uselectionatlas.org/RESULTS/national.php?year=2004&minper=0&f=0&off=0&elect=0">2004 Election Results</a></li>
<li><a href="http://uselectionatlas.org/RESULTS/national.php?year=2000&minper=0&f=0&off=0&elect=0">2000 Election Results</a></li>
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<a href="https://1.bp.blogspot.com/-2DLkF20y9yk/WCj1xqLqcEI/AAAAAAAABks/mhZQb3s7IQs2PRw5WYnNswiUPxyWsHyUACLcB/s1600/Screen%2BShot%2B2016-11-13%2Bat%2B6.21.42%2BPM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="271" src="https://1.bp.blogspot.com/-2DLkF20y9yk/WCj1xqLqcEI/AAAAAAAABks/mhZQb3s7IQs2PRw5WYnNswiUPxyWsHyUACLcB/s320/Screen%2BShot%2B2016-11-13%2Bat%2B6.21.42%2BPM.png" width="320" /></a>I have always used this information when refuting the myth that "Ralph Nader's voters threw the election of 2000 to George W. Bush". First of all, if Al Gore had only won his own state of Tennessee, the Supreme Court would never have gotten involved in the election. Secondly, while Nader received over 2.8 million votes that year (including mine), can you remember how many candidates received votes that year? Well let's see there was Gore, and Bush, and Nader. Oh, and Buchanan of course. Four, right? Wrong! Over a dozen other individuals received more than 1 million total votes in 2000. Why don't they get any blame? Probably due to the mindshare that America's "two party" system holds, that makes most people unable to cognitively recognize other choices, even as protest votes.<br />
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And if that surprises you, it will doubtless be quite a shock to learn that <a href="http://uselectionatlas.org/RESULTS/national.php?year=2004&minper=0&f=0&off=0&elect=0">at least 14 people in 2004</a>, <a href="http://uselectionatlas.org/RESULTS/national.php?year=2008&minper=0&f=0&off=0&elect=0">at least 21 people in 2008</a> and <a href="http://uselectionatlas.org/RESULTS/national.php?year=2012&minper=0&f=0&off=0&elect=0">over 25 people in 2012</a> received Presidential votes. But now that you are over your surprise, you won't even blink when you see that <a href="http://uselectionatlas.org/RESULTS/national.php?year=2016&minper=0&f=0&off=0&elect=0">TWENTY-NINE people other than Trump and Clinton claimed at least 300 votes last week</a>. For all of your friends who castigated you that a "protest" vote for Gary Johnson was wasted, you can point to the 702 people who voted for <a href="http://rodsilva2016.com/">Rod and Richard Silva on the Nutrition Party ticket</a>. He was ready to wage war on cholesterol, and now we'll have to wait another four fatty years until that scourge can be addressed.<br />
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If you look closely at the data you'll see that I was sort of right, in that fewer people seem to have voted this year than expected. The American population is constantly growing (in 2000 it was 282 million, this year it is over 323 million) and the number of eligible voters grows accordingly. As a result, the total number of votes cast has increased nearly every election of my life, with two exceptions. For the last five elections, the numbers are:<br />
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<li>1992: 104,426,611</li>
<li><b>1996: 96,275,640</b></li>
<li>2000: 105,425,985</li>
<li>2004: 122,303,590</li>
<li>2008: 131,473,705</li>
<li><b>2012: 129,237,642</b></li>
<li><b>2016: 128,928,498</b>* (votes are still being counted)</li>
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So the only times that the number of voters did NOT increase were in the aforementioned 1996 election when people were not excited about Bill Clinton and Bob Dole seemed like a sacrificial lamb nominated for a lifetime of service, rather than for any new ideas; 2012 when the excitement about Barack Obama had worn off and Mitt Romney was nominated for a lifetime of service, rather than new ideas (except for Romneycare, which he ran AWAY from); and 2016, when <a href="http://www.usatoday.com/story/news/politics/onpolitics/2016/08/31/poll-clinton-trump-most-unfavorable-candidates-ever/89644296/">the two major parties nominated the least popular candidates ever</a> and Hillary Clinton seemed to be nominated for a lifetime of service, rather than new ideas (except for the ones she adopted from Bernie Sanders). The lesson here to me is that if you want to get people excited about their choices, they need to have REAL choices, who present specific, unique ideas that resonate with the public.<br />
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One more dive into the data should suffice to prove this point. If you <a href="http://www.electoral-vote.com/evp2016/Pres/Maps/Nov11.html#item-1">look at the raw vote data</a>, you'll see that Trump was elected with fewer votes than any winner since 2000 (whoever you count as the "winner"). Beyond that, you'll see that compared to 2012, the number of votes was down all over the country, sometimes by large amounts. Perhaps California was such a foregone conclusion that we can excuse 30% fewer Democrats voting for Clinton than voted for Obama and 38% fewer Republicans voting for Trump than voted for Romney. But what about the so-called "battleground" states? Iowa flipped from Democratic to Republican, and 20.88% fewer Democrats voted for Clinton than did for Obama four years ago (GOP votes were up in Iowa by over 9%). The story repeated itself in other parts of Clinton's "blue wall": In Ohio Clinton got 18% fewer votes than Obama did (and Trump improved on Romney by 4%) and in Michigan, the Democratic candidate got 11.59% less votes than Obama and Trump garnered 7.75% more votes than Romney to turn the state red. Wisconsin and Pennsylvania saw similar numbers. In short, people who were "expected" to vote Democratic were not inspired to go to the trouble of voting for a candidate who didn't excite them.<br />
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Over the last few years, as the endless Presidential election wound its way towards last winter's primaries and caucuses I told anyone who would listen that Hillary Clinton would never get elected President. I said that she was too old (wrong--<a href="http://www.businessinsider.com/donald-trump-oldest-president-us-history-2016-11">Trump is a year older and just became the oldest person elected President</a>) and that too many people distrusted her. In that, sadly, I seem to have finally been correct. When in 1998 Hillary Clinton decried the "<a href="https://en.wikipedia.org/wiki/Vast_right-wing_conspiracy">vast right-wing conspiracy</a>" against the Clintons people laughed, as one does when one hears a conspiracy theory. The only thing is, she was right--the conspiracy was real, and it was totally successful. Friends of mine on social media who were adamantly anti-Clinton (if not pro-Trump) openly speculated about such ridiculous, proven lies and myths such as Hillary's role in the suicide (they said murder) of her longtime friend and business parter Vince Foster in 1993. Many of these people were old enough to know better, but others were young enough that the "revelations" were new to them. </div>
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I don't know what is going to happen in the next four years, and based on my record, any speculation would be wildly off-base anyway. But if the Democrats want to try to regain the White House, they need to find a young, exciting person with new ideas. Trump shows that the person doesn't need to have (any?) experience, just a gift for self-expression and an aura of success. Time will tell...</div>
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-57194477291810936122016-07-14T16:45:00.000-04:002018-06-24T16:41:03.356-04:00"I Am Not Throwing Away My Shot": Thoughts on Hamilton<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "verdana" , sans-serif;">After putting it off for months, I finally listened to the soundtrack to "<a href="http://www.hamiltonbroadway.com/">Hamilton: An American Musical</a>" a few weeks ago and I was transfixed from the start. I've listened to it a lot more since then, and I can say that <a href="https://en.wikipedia.org/wiki/Hamilton_(musical)#Awards_and_nominations">the awards and nominations</a> are well deserved. For years I told my students that <a href="http://www.ethanlewis.org/history">we study the past to make sense of today</a>, and it is obvious that "Hamilton" creator Lin-Manuel Miranda agrees, having written a play that states unequivocally that "immigrants...we get the job done". I initially wanted to write two pieces, one discussing the art of this particular musical and another covering the historical accuracy, but it is impossible to separate the two, so I've put both things together below. <b>Please note</b>: the following will contain "spoilers", if there can be spoilers for something so plainly based on historical fact. But if you are waiting to see the play, you might want to stop here. </span></div>
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<a href="https://3.bp.blogspot.com/-uzjApUsTSxs/V4WlDKaEZgI/AAAAAAAABbM/A4mWcZztfkY1HC-OK3zXAwX6T88Hqn8KwCLcB/s1600/Ham-logo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="200" src="https://3.bp.blogspot.com/-uzjApUsTSxs/V4WlDKaEZgI/AAAAAAAABbM/A4mWcZztfkY1HC-OK3zXAwX6T88Hqn8KwCLcB/s200/Ham-logo.jpg" width="142" /></span></a><span style="font-family: "verdana" , sans-serif;">As I've mentioned in previous posts (<a href="http://icarusanybody.blogspot.com/2014/12/play-time-video-games-in-high-school.html">such as this one</a>), I spent 12 years teaching history at the high school level (in fact, every year my final exam had a section of matching questions for which the right answers were the acrostic "HAMILTON"), and have been a serious student of American history for decades. Back in high school when I applied to <a href="http://www.hampshire.edu/">Hampshire College</a>, I had the idea that my <a href="https://www.hampshire.edu/academics/division-iii">Division III</a> (think, senior project but really big) would combine my love of theatre and American history by writing a one-person play about the life of socialist labor leader Eugene Debs. Ultimately I went in a totally other direction (I studied labor-management relations in major league baseball) and decided that while it wasn't impossible to write a good play about American history (a classmate named <a href="http://www.invisibletheatrenc.org/#!Bio-Karen-Sabo/bvve3/56db1b1c0cf2bc6add1a6e44">Karen Sabo</a> wrote a one-person play about Hollywood blacklisting and it was super), I <b>KNEW</b> it was impossible to write a musical about America that would be excellent artistically as well as historically. </span></div>
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<span style="font-family: "verdana" , sans-serif;">So imagine my surprise when I first heard about this musical. And not to pat myself on the back, but I am not a Johnny come lately to this topic, having read <a href="http://www.nytimes.com/2012/01/08/theater/lin-manuel-miranda-is-rapping-on-alexander-hamilton.html?_r=0">a long article about it in the <i>New York Times</i></a><i> </i>four years ago, which referenced an even earlier public performance at the White House shortly after President Obama was inaugurated, that left me very eager for more. To that end, <a href="http://www.nytimes.com/2015/02/18/theater/review-in-hamilton-lin-manuel-miranda-forges-democracy-through-rap.html">when I read this review of the play in its pre-Broadway run I eagerly petitioned to lead a school field trip to see the show</a>. Unfortunately the history department head at my old school was a very hidebound person, and he rebuffed me, saying "I hardly think that there is any place for 'rap music' in a discussion of history." </span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="text-align: justify;">Well, let's just say that if I had a ten dollar bill for every time that guy was wrong about something I could afford to see "</span><span style="text-align: justify;">Hamilton"</span><span style="text-align: justify;"> on Broadway! <a href="https://www.youtube.com/watch?v=OLSsswr6z9Y">But there's no use crying over spilled milk</a>.</span></span></div>
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<span style="font-family: "verdana" , sans-serif; text-align: justify;">Miranda has often told the story that, when reading <a href="https://www.goodreads.com/book/show/16130.Alexander_Hamilton">Ron Chernow's biography of Hamilton</a>, he was struck by the contemporary relevance of the man and his times:</span></div>
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<span style="background-color: white; color: #333333; line-height: 26px;"><span style="font-family: "verdana" , sans-serif;">“Just the hustle and ambition it took to get him off the island — this is a guy who wrote his way out of his circumstances from the get-go. That is part and parcel with the hip-hop narrative: writing your way out of your circumstances, writing the future you want to see for yourself. This is a guy who wrote at 14, ‘I wish there was a war.’ It doesn’t get more hip-hop than that.”</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><a href="http://www.ethanlewis.org/history/">I spent a long time teaching</a> the Revolutionary War, the ratification of the Constitution, the Washington and Adams administrations, the election of 1800 and the Burr-Hamilton duel to hundreds of students, and all I can say is, Miranda sums it all up amazingly well. His musical numbers are not only tuneful, rhythmic and dynamic, but they also express the agreed-upon facts concisely and clearly. At this point, I think that any U.S. History teacher who <b>doesn't</b> play excerpts from the soundtrack in class is missing a great chance to engage with the students. </span></div>
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<span style="font-family: "verdana" , sans-serif;">The musical is divided into two acts, each of which has Aaron Burr in the role of a Greek chorus, setting the stage with laser-cut imagery that would give any attentive audience member the basic historical grounding to follow what is about to come next. Act I follows Hamilton from his origin in the West Indies to his arrival in America as a talented, orphaned immigrant at the outset of the Revolutionary War. We meet characters like <a href="https://en.wikipedia.org/wiki/Aaron_Burr">Burr</a>, the <a href="https://en.wikipedia.org/wiki/Gilbert_du_Motier,_Marquis_de_Lafayette">Marquis de Lafayette</a>, <a href="https://en.wikipedia.org/wiki/George_Washington">George Washington</a>, and <a href="https://en.wikipedia.org/wiki/Elizabeth_Schuyler_Hamilton">Elizabeth</a>, <a href="https://en.wikipedia.org/wiki/Angelica_Schuyler_Church">Angelica</a> and <a href="https://en.wikipedia.org/wiki/Margarita_%22Peggy%22_Schuyler">Peggy</a>, Hamilton's future wife and sisters-in-law, the Schuyler sisters. By the end of the first half of the show, the Revolutionary War has ended, and both Hamilton and Burr (who in many ways are mirror images of each other throughout the musical) are new fathers, as well as fathers of our country. Act II introduces us to new characters such as <a href="https://en.wikipedia.org/wiki/Thomas_Jefferson">Thomas Jefferson</a>, <a href="https://en.wikipedia.org/wiki/James_Madison">James Madison</a>, and <a href="https://en.wikipedia.org/wiki/Maria_Reynolds">Maria Reynolds</a>, with whom Hamilton had a <a href="https://en.wikipedia.org/wiki/Hamilton%E2%80%93Reynolds_sex_scandal">disastrous adulterous affair</a> (in a "you can't make this up" twist, in real life Maria Reynolds later divorced her husband and her lawyer was---Aaron Burr). The second act gives us a great look at Washington's neutrality policy, at the debate over the assumption of state debts, and the Election of 1800, and culminates in the duel in which Burr fatally shot Hamilton. </span><br />
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<span style="font-family: "verdana" , sans-serif;">There is much that I'd like to say about this show, but in the interest of brevity and clarity, I've confined myself to four topics. Each of them will let me explain what I like so much about this musical while also sharing some reflections about the history behind the lyrics.</span></span></div>
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Alexander Hamilton: </span></h3>
<a href="https://4.bp.blogspot.com/-MK8ape1R7I0/V4WlCxu1MtI/AAAAAAAABbE/yRHRTeJrpco4Rx3IEnOV_VgNmH_vXa66gCLcB/s1600/AHam.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="200" src="https://4.bp.blogspot.com/-MK8ape1R7I0/V4WlCxu1MtI/AAAAAAAABbE/yRHRTeJrpco4Rx3IEnOV_VgNmH_vXa66gCLcB/s200/AHam.jpg" width="200" /></span></a><span style="font-family: "verdana" , sans-serif;">Miranda is best, in my mind, when dealing with the biographical and psychological aspects of the title character. Hamilton was a desperate young man when he came to America, who (in a society that was very stratified and inaccessible to a man without property) longed for a war in which he could make his mark. A recurring theme lyrically and philosophically first appears in the third musical number, "My Shot". In it, Hamilton and his young friends are eager for the opportunities war will bring, and repeatedly vow, "I am not throwing away my shot." Miranda's Hamilton shows that he identifies with the new country which he will help build with his own blood and toil when he says: "Hey yo, I'm just like my country, I'm young, scrappy and hungry, and I'm not throwing away my shot." </span><br />
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<span style="font-family: "verdana" , sans-serif;">The show is also great at expressing the idea that Hamilton was a ball of energy (his wife asks him "why do you write like you're running out of time?") and ambition due to the difficult circumstances of his youth. That said, while not masking Hamilton's flaws, the show does minimize them. While the show does note that "Martha Washington named her feral tom cat after him", it is presented as an aspect of his personality <b>prior</b> to the marriage with Elizabeth Schuyler that (in a day when a wife's property became her husband's) established him at the upper levels of New York society. In real life, Hamilton was a serial adulterer and probably what we would call a functioning alcoholic (though, so were a lot of people at a time when <a href="http://www.theatlantic.com/health/archive/2015/06/benjamin-rush-booze-morality-democracy/396818/">the average American drank seven gallons of alcohol</a> yearly). I used to describe him to my students as "the most self-destructive person in American History", and that is somewhat minimized in the musical.</span></span><br />
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<span style="font-family: "verdana" , sans-serif;">The arc of the narrative does a good job of mirroring the arc of Hamilton's life. At the end, after playing a key role in ending his rival Burr's political career, and following the death of his oldest son, Philip in a duel over Hamilton's honor, the former Federalist firebrand retired to a quiet life in New York. His nearly ruined marriage is depicted as recovering slowly, but it's clear that the ultimate politician has no future in government. It is really left up to the audience members to decide if Hamilton accepted Burr's challenge out of pride, or with a death wish. We've heard throughout the play that "history has its eyes on" Hamilton, and there is no doubt that his everlasting fame (at least, before Miranda got a hold of him) was due to his famous death.</span></span><br />
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Aaron Burr:</span></h3>
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<a href="https://4.bp.blogspot.com/-k8oB_eoaDZI/V4WlC8lbZ_I/AAAAAAAABbA/bG2cCPD3--8Vs_-xzm0HXN7PcRfKm0omwCLcB/s1600/ABurr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="200" src="https://4.bp.blogspot.com/-k8oB_eoaDZI/V4WlC8lbZ_I/AAAAAAAABbA/bG2cCPD3--8Vs_-xzm0HXN7PcRfKm0omwCLcB/s200/ABurr.jpg" width="200" /></span></a><span style="font-family: "verdana" , sans-serif;">In a lot of ways, Burr is the other star of "Hamilton", in the same way that Judas is the other star of "<a href="https://en.wikipedia.org/wiki/Jesus_Christ_Superstar">Jesus Christ Superstar</a>". As in the famous rock opera, where it takes Judas to bring Jesus to his apotheosizing death, Burr played a similar role in the history of the Founding Fathers. </span><br />
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<span style="font-family: "verdana" , sans-serif;"> The musical does a good job of establishing Burr's reputation as a chameleon-like political figure whose ethos "speak less...smile more" conceals his true feelings. Burr was an orphan, but as the show makes note, he came from what at the time was American royalty. His grandfather was Jonathan Edwards, whose "<a href="https://en.wikipedia.org/wiki/Sinners_in_the_Hands_of_an_Angry_God">Sinners In The Hands Of An Angry God</a>"was the prototypical "fire and brimstone" sermon of the Great Awakening, while his father was a founder of what became Princeton University, thus making Burr the perfect mix of the Great Awakening and the Enlightenment; a sometimes incompatible mix that still causes conflict in our society today. I really like how the show seems to, in some ways, revolve around Burr's (remember, he's the narrator) frustration at having been passed in the race by a nobody. As Burr's character says at the start of Act I:</span><br />
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<span style="font-family: "verdana" , sans-serif;">"How does a bastard, orphan, son of whore<br />And a Scotsman,<br />Dropped in the middle of a forgotten spot<br />In the Caribbean by Providence,<br />Impoverished, in squalor, grow up to be a hero and a scholar?"</span></blockquote>
<span style="font-family: "verdana" , sans-serif;"><br />Not to take anything away from Aaron Burr. Burr was a legitimate war hero, having served in the doomed attack that was the Battle of Quebec, but he never reached the rank of general (compared to the younger Hamilton, who after years as Washington's aide-de-camp eventually rose (during the Adams presidency) to command the army of the United States. In the 1790's Burr was a senator from New York (replacing Hamilton's father-in-law), and he became the third Vice-President of the US (and first to fail to become Chief Executive in his own right) in 1801. The play does a good job of showing how Burr and Hamilton had careers and lives in parallel for a long time, including serving as lawyers together, and having kids who (at least a little) might have humanized and settled them down. Tragically, both men outlived their oldest children. </span><br />
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<span style="font-family: "verdana" , sans-serif;">If Hamilton "wrote like he was running out of time", he wasn't alone. One of the great songs in the musical has characters marvel:</span></span><br />
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<span style="font-family: "verdana" , sans-serif;">"Look around, look around at how lucky we are<br />To be alive right now!<br />History is happening in Manhattan and we just<br />Happen to be<br />In the greatest city in the world!"</span></blockquote>
<span style="font-family: "verdana" , sans-serif;">and it wasn't just in New York that history was happening. For the first time, a small set of colonies overthrew the rule of the most powerful nation on the planet. A few years later, the people of France rose up against their rulers and literally remade the world. And after that, a smallish soldier born well but in a colonial backwater, rose up to become the Emperor of Europe. The example of Napoleon and his rapid rise along with the other titanic changes mentioned above must have made the similarly vertically challenged Burr (and Hamilton) believe that they lived in an annus mirabilis when dreams could come true. That gives extra meaning to the exchange at the end of Act II after Burr has defeated Philip Schuyler for the Senate:</span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>Burr:</b> ..Schuyler's seat was up for grabs, so I took it!<br /><b>Hamilton</b>: I've always considered you a friend.<br /><b>Burr:</b> I don't see why that has to end!<br /><b>Hamilton: </b>You changed parties to run against my father in law!<br /><b>Burr:</b> I changed parties to seize the opportunity I saw.<br />I swear, your pride will be the death of us all! Beware: it goeth before the fall. </span></blockquote>
<span style="font-family: "verdana" , sans-serif;">Of course, another of the many tragedies (both in the musical, and in real life), is that like Eliza Hamilton, Aaron Burr lived for 32 years after the fateful, fatal duel and never achieved what he must have thought was his destiny. </span><br />
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<a href="https://3.bp.blogspot.com/-CsvViok5nsY/V4WlDAAZ3gI/AAAAAAAABbI/SzTYhjjKJrw7wpz3rMLL5mFDkJ6nZM4YACLcB/s1600/Aaron%252BBurr%252Band%252BHamilton%252BDuel.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="190" src="https://3.bp.blogspot.com/-CsvViok5nsY/V4WlDAAZ3gI/AAAAAAAABbI/SzTYhjjKJrw7wpz3rMLL5mFDkJ6nZM4YACLcB/s320/Aaron%252BBurr%252Band%252BHamilton%252BDuel.jpg" width="320" /></span></a><span style="font-family: "verdana" , sans-serif;">I've been fascinated by the Burr-Hamilton duel ever since I was a teenager, when I first read "<a href="http://www.goodreads.com/book/show/8722.Burr">Burr: A Novel", by Gore Vidal</a>, and when I saw the unrelated but visually striking movie, "<a href="http://www.imdb.com/title/tt0075968/">The Duellists</a>". One thing that makes me so interested is that there is no authoritative "truth" about the fatal gunfight between the sitting Vice-President and the former commanding general of the U.S. Army, therefore, it is the perfect example of how history can be whatever one wants it to be. </span><br />
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<span style="font-weight: normal;"><span style="font-family: "verdana" , sans-serif; font-size: small;">I think it's important to remember that the age of Hamilton and Burr was one of short lives, quick death, and was in a lot of ways a small world. People didn't have long to make their mark, and in a small country, it was easier than it is now to rise to fame. The population of the United States in the 1800 Census (not counting Native Americans) was just over 5 million, and of them the following people couldn't vote:</span></span></h3>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-weight: normal;"><span style="font-size: small;">as a result, in a close election like that of 1800, reputation mattered--there were only a few thousand voters in each state (even the bigger ones like New York) and a man's character was closely related to his honor, which at that time was the linchpin of his financial prospects. In a time when banks were rare and unstable, and when many people's wealth was tied to things of limited liquidity (such as crops yet to be grown, or slaves unable to be sold) wealthy men depended on their ability to borrow money from other men of the same social stratum. <a href="http://www.aol.com/article/2013/07/04/money-lessons-founding-fathers/20645538/">Many of the Founders spent their lives in debt to other wealthy men</a>, and this was due to the fact that a gentleman would accept the word of another gentleman ("on my honor") that a debt would be repaid in full. In many cases, loans were made without collateral, because a man's honor was said to be enough. </span></span></span>
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<span style="font-family: "verdana" , sans-serif; font-size: small;">In the musical, as in life, Hamilton was brought down not by the adultery (and the related blackmail payments) of the Reynolds affair, but by his lengthy, detailed "Reynolds Pamphlet". In it, to show that he never abused the public trust, he told the world about his extra-marital affairs. Hamilton was so myopic that he could only focus on his reputation for financial probity and didn't care what he revealed about his shameful sexual behavior (and what it said about him as a husband)--after all, he wasn't looking for loans from women, was he?</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;">No one knows what ultimately prompted the duel between Hamilton and Burr. As you probably remember from your history classes, the Constitution as written did not initially account for what was then known as political factions (we would say "parties"), and as a result the elections of 1796 and 1800 saw bitter rivals seeming to run together. In 1796, the Federalist John Adams became President while his Vice-President was Democratic-Republican Thomas Jefferson. For the next four years, Jefferson did everything he could to weaken Adams (while Hamilton, who was also a Federalist, did the same). To avoid such a thing happening again, the parties tried to establish a clear candidate for President and a younger, dare I say "lesser" candidate for Vice-President four years later.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;">The <a href="https://en.wikipedia.org/wiki/United_States_presidential_election,_1800">election of 1800</a> ended in a tie in the Electoral College between Jefferson and Burr. Adams and his sidekick Charles Pinckney clearly lost, but who won? Elections took much longer to conduct back then, and for months Burr refused to do what many (certainly Jefferson) expected him to do and admit defeat. Imagine the recent tension between Hillary Clinton and Bernie Sanders, but instead it's the actual election, and Sanders was young and refused to yield. Burr kept saying "as far as I can tell, I'm President", and he worked hard to get the House of Representatives to confirm it. When he finally lost to Jefferson on the 36th (!) ballot, he hoped that the Virginian would know that it had just been politics. Unfortunately, few people held grudges like Thomas Jefferson, and he made sure to ruin any chance of Burr ever rising to the White House.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;">Burr eventually accepted that he would have no place on the Federalist ticket in 1804, and instead sought to be elected governor of New York. Unfortunately a cabal including the unlikely partnership of Jefferson and Hamilton saw to his defeat. That same year, a letter to Hamilton's father-in-law Philip Schuyler was published in a newspaper in Albany, saying that at a recent dinner, Hamilton was heard to say "despicable" things about Burr. At this point, Burr had lost the votes of the powerful men in Albany, and he was probably in a vulnerable state. The letter said that Burr couldn't be trusted with power (which was bad enough)--what could have been more "despicable"?</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;">We'll never know. But following the code of honor that made one accepted as a gentleman, Burr demanded Hamilton retract his statement and apologize. Hamilton essentially said that he was too drunk to remember what he said, and that he said so many things that he refused to apologize without Burr being more specific. The only result after that which would let Burr maintain face, maintain honor, and maintain status as a gentleman, was to challenge Hamilton to what they would have euphemistically called "an interview".</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;">In my classes I would spend a day telling this story, and <a href="http://www.pbs.org/wgbh/amex/duel/sfeature/rulesofdueling.html">explaining the <i>Code Duello</i></a>, and how so-called gentlemen on both sides of the Atlantic would fight for honor. In typical fashion, Lin-Manuel Miranda does it better than I did and much more quickly, in the Act I number (reprised in Act II) "<a href="https://www.youtube.com/watch?v=dS79uxNFoHw">The Ten Duel Commandments</a>". I would much rather play this recording than do my usual poor acting in front of the class!</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;">Anyway, <a href="http://willrabbe.com/microblog/2011/4/20/the-hamilton-burr-duel-the-hair-trigger-theory.html">we know that Hamilton's pistols had a hair trigger</a>, which would make them easier to fire. And as Miranda has Burr sing, "They won't teach you this in your classes, but look it up, Hamilton was wearing his glasses. Why? If not to take deadly aim?" Unfortunately, duelling was only quasi-legal then (in fact, it was against the law in New York, which is why gentlemen of the city rowed to New Jersey to fight), so there were not many witnesses. <a href="http://founders.archives.gov/documents/Hamilton/01-26-02-0001-0275">After everything was done, the two seconds (William Van Ness for Burr and Nathaniel Pendleton for Hamilton) issued a joint statement</a>, but it doesn't say much. Basically, the men stood 10 paces apart; Hamilton's second would give the command to fire; the seconds disagreed over who fired first. Burr's papers from the time were lost at sea in the shipwreck that killed his daughter and grandson, so any contemporaneous record of his observations no longer exists. </span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;">On the other hand, <a href="http://founders.archives.gov/documents/Hamilton/01-26-02-0001-0241">Hamilton (who always wrote like he was running out of time), penned a statement about the duel <i>before</i> he left for his rendezvous in Weehawken</a>, in which he stated that his "religious and moral principles are strongly opposed to the practice of Duelling", and "I have resolved, if our interview is conducted in the usual manner, and it pleases God to give me the opportunity, to <i>reserve</i> and <i>throw away</i> my first fire, and I <i>have thoughts </i>even of <i>reserving</i> my second fire--and thus giving a double opportunity to Col. Burr to pause and to reflect." (italics in original) Basically, in a letter that was only to be read in the event of his death, Hamilton claimed that he planned to shoot his pistol in the air, to show Burr that he had "no ill will". But wouldn't it just have been easier to apologize then? Especially since to many, a refusal to fire at one's opponent was also a dishonorable act? </span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">In other words, at the end of his life, Hamilton would have us believe that he planned to "throw away his shot". This adds even greater poignance to the times earlier in the musical when he and other characters swear that they will </span>NOT<span style="font-weight: normal;"> do so (in a different context, of course). </span></span></span></span></h3>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">At the end of the song "The World Was Wide Enough", Burr sings:</span></span></span>
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<span style="font-family: "verdana" , sans-serif; font-size: small;"><span style="font-weight: normal;">"Now I'm the villain in your history.</span><span style="font-weight: normal;">I was too young and blind to see...</span><span style="font-weight: normal;">I should have known.</span><span style="font-weight: normal;">I should have known</span><span style="font-weight: normal;">The world was wide enough for both Hamilton</span><span style="font-weight: normal;">And me."</span></span></blockquote>
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">This is a great reference to one of my all-time favorite lines! Every year when I taught this class, I would have <a href="http://www.democraticunderground.com/10025260568">Burr's statement about the duel</a> written on the board:</span></span></span>
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<span style="font-family: "verdana" , sans-serif; font-size: small;"><i><span style="font-weight: normal;">"</span><span style="font-weight: normal;">Had I read Sterne more and Voltaire less, I should have known the world was wide enough for Hamilton and me."</span></i> </span></blockquote>
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<span style="font-family: Verdana, sans-serif;">I love this quote. Not only is it a rueful acknowledgement by an old man of his previous lack of maturity, it also shows how books and authors can be so influential to our view of and conduct in the world.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;">The Music:</span></h3>
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<a href="https://1.bp.blogspot.com/-RTsTlJ7N6Tw/V4fxxwvZhjI/AAAAAAAABbk/scB4IkYgs7oOdriJCmJqcDWj71c8gd-xACLcB/s1600/201509211_18artsbeatgrossestmagArticle.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="118" src="https://1.bp.blogspot.com/-RTsTlJ7N6Tw/V4fxxwvZhjI/AAAAAAAABbk/scB4IkYgs7oOdriJCmJqcDWj71c8gd-xACLcB/s320/201509211_18artsbeatgrossestmagArticle.jpg" width="320" /></span></a><span style="font-family: "verdana" , sans-serif;">I am not a connoisseur of hip hop and modern R&B, so I will not be able to competently address the many references within Hamilton to music of the last few decades, though <a href="http://www.slate.com/blogs/browbeat/2015/09/24/hamilton_s_hip_hop_references_all_the_rap_and_r_b_allusions_in_lin_manuel.html">you can read articles that do so </a>in what seems to be a very thorough fashion. What I can do is write about how the music makes me feel. </span></div>
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<span style="font-family: "verdana" , sans-serif;">So many of the songs are so clever! I love how the character of King George comes off like the jealous ex-boyfriend <i>par excellence</i> in a song that sounds almost like '60s pop and sings, "when push comes to shove, I will send a fully armed battalion to remind you of my love". I love how Lafayette sings in a silly French accent (and then the same actor plays Thomas Jefferson in Act II, newly returned from France). I love the feeling of pride that swells up in me when I hear "The World Turned Upside Down", which describes victory at the <a href="https://en.wikipedia.org/wiki/The_World_Turned_Upside_Down">Battle of Yorktown</a>, and conveys the feeling of limitless opportunity. </span></div>
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<span style="font-family: "verdana" , sans-serif;">It's important to remember that it's not just young men at pivotal points in history who believe that the world lies at their feet. That is a sentiment common with the young, especially the young of a relatively privileged background. I've previously quoted from the song "The Schuyler Sisters":</span></div>
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<span style="font-family: "verdana" , sans-serif;">"Look around, look around at how lucky we are</span> /<span style="font-family: "verdana" , sans-serif;">To be alive right now! / </span><span style="font-family: "verdana" , sans-serif;">History is happening in Manhattan and we just / </span><span style="font-family: "verdana" , sans-serif;">Happen to be / </span><span style="font-family: "verdana" , sans-serif;">In the greatest city in the world!"</span><span style="font-family: "verdana" , sans-serif;"> </span></blockquote>
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<span style="font-family: "verdana" , sans-serif;">When I first heard the recordings, and every other time since, hearing the characters sing of their joy and optimism has filled me with a deep sadness. Miranda is such a great writer, that he can accurately put his characters into an authentic state of self-awareness. To a young person, with the future yet to be written, such moments are genuinely exciting and full of limitless potential. But knowing as I do what is to befall the characters, and the country, I can't share their hopeful feelings. There is also the fact that I'm not 24 anymore, and I know how time can change people's lives. All of that comes through for me when I hear this song, and I tip my hat to Miranda for being such a powerful writer.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Speaking about sadness, I am not ashamed to say that parts of this musical brought tears to my eyes. Apparently I'm not alone, because<a href="https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=hamilton+makes+me+cry"> if you Google "Hamilton makes me cry" you get over 2.5 million hits</a>! Others have written about this ("<a href="https://www.buzzfeed.com/ariellecalderon/i-want-to-be-in-the-room-where-they-win-a-tony?utm_term=.xm05XrqJZ#.prLYaVkE7">10 Times I Lost My Sh*T Watching Hamilton The Musical</a>"; <a href="http://blackgirlnerds.com/hamilton-an-american-musical-has-me-crying-nerd-tears/">Hamilton An American Musical Has Me Crying Nerd Tears</a>; <a href="http://www.latimes.com/entertainment/arts/la-ca-cm-hamilton-soundtrack-20160612-snap-story.html">The Emotional Hooks of Hamilton, Why The Soundtrack Makes Me Cry Every Single Time</a>) better than me. But I have to say that several parts of the show never fail to get me; I listened to the soundtrack on an airplane recently, and sat flying over Louisiana with tears streaming down my face. Without discussing the music itself, the the songs whose lyrics have the biggest emotional power over me are:</span></div>
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<li style="text-align: justify;"><span style="font-family: "verdana" , sans-serif;"><a href="https://www.youtube.com/watch?v=ksff5uvSViU">A Winter's Ball</a> and <a href="https://www.youtube.com/watch?v=30N4rPZuUMc">Helpless</a>: "A Winter's Ball" shows when young, good looking (but out of his depth) Alexander is put into the orbit of the Schuyler sisters. Miranda is so good at using vocal style to convey young Alexander as being unprepared for what he sees in New York (but willing to learn how to succeed). After setting the stage that a good marriage can make a man, the show segues into "Helpless". I love the harmony of the three sisters, and when they sing, "Helpless! Look into your eyes and the sky's the limit I'm helpless! Down for the count and I'm drowning in 'em" I can't help but think of how I feel when I look at my wife.</span></li>
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<li style="text-align: justify;"><span style="font-family: "verdana" , sans-serif;"><a href="https://www.youtube.com/watch?v=f0EqxnWxlvY">Satisfied</a>: In this song, Angelica Schuyler is at the wedding of Hamilton and her sister. She remembers falling in love almost at first sight with Alexander, but deciding that a match with him would be unwise, and passing him onto her sister, so "at least I keep his eyes in my life". Later in the show it is clear that Angelica has always had an affection for Hamilton, though when his infidelities disrupt Eliza's life, her sister is clearly on her side. I have always been deeply affected by stories of someone loving another from afar, and this song touches that nerve.</span></li>
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<li style="text-align: justify;"><span style="font-family: "verdana" , sans-serif;"><a href="https://www.youtube.com/watch?v=vjMN6zSVFQg">Dear Theodosia</a>: I'm not a father, but even so, songs about fatherhood have always ripped me up. This one from the end of the first act is particularly moving; the song shows the humanity (previously unglimpsed) in Burr (who sings to his new baby daughter) and Hamilton (who sings to his new baby son). Knowing that both men would outlive their children adds poignancy to the music. What parent, or for that matter caring adult hasn't looked at an innocent child and felt "I'll make the world safe and sound for you...If we lay a strong enough foundation we'll pass it on to you, we'll give the world to you, and you'll blow us all away"? This song is incredibly moving on its own, but it also lends power the the duel scene in Act II, when Burr swears that Hamilton "will not make an orphan of my daughter". </span></li>
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<li style="text-align: justify;"><span style="font-family: "verdana" , sans-serif;"><a href="https://www.youtube.com/watch?v=rrsmUzqweBI">It's Quiet Uptown</a>: This song from Act II shows a despondent, broken Hamilton trying to recover after the death of his son Philip in a duel. The refrain of the song breaks my heart:</span></li>
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<span style="font-family: "verdana" , sans-serif;">"If you see him in the street, walking by</span></div>
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<span style="font-family: "verdana" , sans-serif;">Himself, talking to himself</span></div>
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<span style="font-family: "verdana" , sans-serif;">Have pity, </span></div>
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<span style="font-family: "verdana" , sans-serif;">He is working through the unimaginable"</span></div>
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<span style="font-family: "verdana" , sans-serif;"> I know that I can't imagine a sorrow deeper than that of a parent who loses a child. This song in particular makes me think of someone close to me whose son (whose middle name was Philip)died before his time, as well as all of the other people who have to get on with their life in the face of incalculable grief. </span></div>
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<li style="text-align: justify;"><span style="font-family: "verdana" , sans-serif;"><a href="https://www.youtube.com/watch?v=Jyg3Lo_-Ep8">Who Lives, Who Dies, Who Tells Your Story</a>: Other than losing a child, losing a spouse is the other unfathomably horrible tragedy a person can face. In my own group of family and friends there are several examples of this, and it is my deepest personal dread. This song tells how Eliza Hamilton tried to carry on her husband's work (and posthumously burnish his reputation) for the decades after his death. She worries if "when my time is up, have I done enough?", and notes that her greatest pride is in founding an orphanage:</span></li>
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<span style="font-family: "verdana" , sans-serif;">"I help to raise hundreds of children.</span></div>
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<span style="font-family: "verdana" , sans-serif;">I get to see them growing up.</span></div>
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<span style="font-family: "verdana" , sans-serif;">In their eyes I see you, Alexander</span></div>
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<span style="font-family: "verdana" , sans-serif;">I see you every time."</span></div>
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<span style="font-family: "verdana" , sans-serif;"> Having devoted my own life to teaching other people's children, this line really hits me hard. </span></div>
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<span style="font-family: "verdana" , sans-serif;">******</span></div>
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<span style="font-family: "verdana" , sans-serif;">The night before the duel, among the many other documents Hamilton penned, <a href="http://founders.archives.gov/documents/Hamilton/01-26-02-0001-0248">he wrote to his wife</a>:</span></div>
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<span style="font-family: "verdana" , sans-serif;">"I need not tell you of the pangs I feel, from the idea of quitting you and exposing you to the anguish which I know you would feel. Nor could I dwell on the topic lest it should unman me....Adieu best of wives and best of Women. Embrace all my darling Children for me. Ever yours, AH."</span></blockquote>
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<span style="font-family: "verdana" , sans-serif;">I have no doubt that Alexander Hamilton was as I spent years describing him, a bitter, self-destructive man whose paranoia and hate led to a death before his time. But I am indebted to Lin-Manuel Miranda for his perceptive understanding of the man's personality, as well as for his brilliant, keen writing, which has helped me regain an appreciation of Hamilton as a person (as opposed to An Historical Figure) whose emotions I feel I can now touch and comprehend. If you haven't seen Hamilton, I hope you will try to get tickets if it comes to your town or if you go to New York. If you haven't listened to the soundtrack, I hope the excerpts in this article inspire you to buy the album. And if you haven't studied this period of history since school, I hope this might make you want to go to the library to pick up some books; it will definitely be worth the trip.</span></div>
Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-4657412480611311032016-07-01T14:42:00.002-04:002016-07-01T14:57:19.855-04:00My Back Pages: A Look at Guitar Player Magazine Back Issues #4--R.I.P. Scotty Moore<div style="text-align: justify;">
2016 continues to bring bad news on the rock and roll front. Halfway through the year, and we have had to endure <a href="http://www.theguardian.com/lifeandstyle/2016/apr/21/from-bowie-to-prince-famous-faces-we-have-said-goodbye-to-in-2016">the loss of more than a few legendary musical figures</a>, and this week a true pioneer of rock music passed away.</div>
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If anyone could truly be said to have been "present at the creation" of rock and roll, it was <a href="https://rockhall.com/inductees/scotty-moore/bio/">Scotty Moore</a>, a Memphis based guitarist who was one of <a href="https://rockhall.com/inductees/sam-phillips/">Sam Phillips</a>' go to musicians at Sun Studios, and who the producer asked to help put together the first sessions for young <a href="https://rockhall.com/inductees/elvis-presley/">Elvis Presley</a>. Scotty went on to form (with Bill Black and DJ Fontana) Elvis' first band, the band that cut the <a href="https://play.spotify.com/album/4GKfBd0gJ791c3Gp3umNho">legendary Sun sessions</a>, made the groundbreaking television appearances and worked with Elvis until he entered the Army. This video from the Milton Berle show (live on a Navy ship, apparently), shows the power that the band got from a very small amp, a tiny drum kit, and a doghouse bass:<br />
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<a href="https://4.bp.blogspot.com/-_34JxQh51fQ/V3atw5ur0SI/AAAAAAAABXg/BD99VGFZgJ4hQB_V7bhulGmYGKM213oHACLcB/s1600/Screen%2BShot%2B2016-07-01%2Bat%2B1.30.49%2BPM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-_34JxQh51fQ/V3atw5ur0SI/AAAAAAAABXg/BD99VGFZgJ4hQB_V7bhulGmYGKM213oHACLcB/s320/Screen%2BShot%2B2016-07-01%2Bat%2B1.30.49%2BPM.png" width="236" /></a>Scotty Moore was inducted to the Rock and Roll Hall of Fame in 2000, and he put out some music of his own over the years (though it is very hard to find these days), but spent most of his career as a producer and engineer. When I think of him, I think of a really terrific July 1997 cover story <i>Guitar Player </i>magazine ran on him. I pulled the issue out of my collection (I have every <i>Guitar Player </i>from 1986-2010) and found several bits that you might find interesting.</center>
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In the article, Scotty described the fateful meeting in 1954: </center>
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"I remember thinking, 'what in the hell kind of name is that--<i>Elvis.' </i>He was real nice though. Kinda shy and he sang pretty good."</center>
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"I had a band, the Starlight Wranglers, and we had a steady gig on the weekends at a place called the Bon Air. I knew we had to have a radio show or a record out to book better playing jobs, so we'd done one record with Sam. I think it sold about 12 copies. He'd been telling me about this kid and I wanted to see what he was all about."</blockquote>
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"When Sam set up the audition, which ended up being Elvis' first Sun session, he said he just wanted to hear the voice with a little background in there for rhythm...With no drums it sounded <i>so</i> empty, and I was trying to fill things up a little. That's why I went to the thumb and fingers style, trying to keep a heavier rhythm and just stabbing in fill notes. I'd been listening to Merle Travis and Chet Atkins for a couple of years after I got out of the Navy in '52. I would try to figure out how in the hell they were doing all that."</blockquote>
<a href="https://4.bp.blogspot.com/-tgWbtI8JIMY/V3a2rqRvVlI/AAAAAAAABX4/z2_DmaLMWcI3IrV91qi3BQA7pvzm0LQqwCLcB/s1600/Elvis%2B68%2BComeback%2BSpecial%2BScan.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="252" src="https://4.bp.blogspot.com/-tgWbtI8JIMY/V3a2rqRvVlI/AAAAAAAABX4/z2_DmaLMWcI3IrV91qi3BQA7pvzm0LQqwCLcB/s320/Elvis%2B68%2BComeback%2BSpecial%2BScan.jpg" width="320" /></a>In the article, Scotty Moore said that after <a href="http://www.scottymoore.net/NBCStudio4.html">Elvis' comeback special on TV in 1968</a> he never heard from Elvis again, and devoted his time to running his recording studio. He noted that after that concert he gave up playing for a long time:<br />
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"I just laid my guitar down, cold turkey. I didn't play for 24 years--not a note, except for just a few overdubs for some friends. Didn't even own a guitar for a long time. I sold my Super 400, everything except my amp. If somebody would ask me if I missed playing, I'd say 'Hell no! I'm playing a whole <i>band</i> here with the console.' Besides, I really didn't want to deal with all the bullshit that had grown up around the other part of the business anymore, and I wanted to stay home. I'd done all the traveling I wanted to do for awhile."</blockquote>
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The article also includes a short review of James Dickerson's <i>That's Alright Elvis-The Untold Story of Elvis' First Guitarist and Manager, Scotty Moore</i> by Jas Obrecht. Obrecht includes a quote from the book describing how things changed when Elvis hired Col. Tom Parker to be his new manager:<br />
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"We knew from day one the Colonel didn't want [Bill Black and Moore] around," Moore says. By the summer of '55 Scotty and Bill had gone from being members of a trio sharing a 50/25/25 split to salaried sidemen earning $200 a week while working, $100 during down time. "People were laughing at us," Moore says. "Even the guys selling souvenir books were making more money than we were."</blockquote>
<a href="http://www.gainesville.com/news/20110219/bo-diddleys-estate-in-limbo">It's common to read about how the founders of rock and roll, especially African-Americans, were taken advantage of by the music industry</a>, but Scotty Moore was also a victim of an exploitative system. He was just as responsible as Elvis himself for inspiring a generation of future guitar heroes to pick up the instrument. Obrecht's review, however, sums up the tangible benefits that Moore derived from his creative genius:<br />
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From the $50,000 Elvis pulled in from the <i>Ed Sullivan Show</i>, Scotty reports that he pocketed $235. They received no record royalties, concessions income, free cars or big bonuses. They had to buy their own wardrobe for <i>Jailhouse Rock</i>....His total take for 14 years with Elvis: $30,123.72.</blockquote>
<a href="https://1.bp.blogspot.com/-NWraU98fzmA/V3a21o_5twI/AAAAAAAABX8/0dzEl0nw9zwr9iymm0qNETdYQQciRuupwCLcB/s1600/drinktome.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://1.bp.blogspot.com/-NWraU98fzmA/V3a21o_5twI/AAAAAAAABX8/0dzEl0nw9zwr9iymm0qNETdYQQciRuupwCLcB/s320/drinktome.jpg" width="320" /></a>You can <a href="http://www.scottymoore.net/index.htm">learn more about Scotty Moore on his website</a>. He will be missed, but it's safe to say that there will be good rockin' in heaven tonight.<br />
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Ethan Lewishttp://www.blogger.com/profile/15438537827841858283noreply@blogger.com0tag:blogger.com,1999:blog-428900226049233659.post-10416039861197245562016-04-23T20:40:00.001-04:002016-04-23T20:40:17.918-04:00My Back Pages: A Look at Guitar Player Magazine Back Issues #3--R.I.P. Prince<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
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<span style="font-family: Arial, Helvetica, sans-serif;">In what is becoming an <a href="http://www.theguardian.com/lifeandstyle/2016/apr/21/from-bowie-to-prince-famous-faces-we-have-said-goodbye-to-in-2016">all-too common refrain in 2016, another amazing musician has died</a>. Prince, <a href="https://rockhall.com/inductees/prince/bio/">a member of the Rock and Roll Hall of Fame</a>, was only 57 years old when he was found dead in an elevator at his Paisley Park studio on April 21. A few months ago <a href="http://icarusanybody.blogspot.com/2016/01/my-back-pages-look-at-guitar-player.html">after the death of David Bowie, I <span style="font-family: inherit;">wrote</span></a><span style="font-family: inherit;">: </span><span style="font-family: inherit;">"</span><span style="background-color: white; color: #222222; line-height: 18.48px;">I can't say that I loved (or even appreciated) all of [his] music--in fact, it would take a person with very wide tastes indeed to say that. But I've... definitely appreciated him in several guises.". </span></span></div>
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<a href="https://i.ytimg.com/vi/o_tGKYkgypU/hqdefault.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="240" src="https://i.ytimg.com/vi/o_tGKYkgypU/hqdefault.jpg" width="320" /></span></a><span style="font-family: inherit;"><span style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;">In some ways, I could say the same about Prince: I never bought one of his records (though I listened to him regularly until <a href="http://www.independent.co.uk/life-style/gadgets-and-tech/news/prince-dead-music-listen-spotify-apple-music-tidal-youtube-album-a6995191.html">he pulled his music from Spotify last year</a>) or saw him in concert, and there is no doubt that a lot of his incomprehensibly massive discography left me puzzled. Having said that, I always admired him as a musician (and as a performer and a producer and a songwriter) as a fearless trailblazer for alternative approaches to binary views of sexuality and as a courageous campaigner against the exploitative framework we accept as "the music business". </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;">Prince was a musical prodigy who played all of the instruments on several of his records. He was an outstanding guitarist, keyboardist, drummer and bassist as well as a great vocalist. He mastered the emerging technologies of music at an early age, and used sampling and digital technologies so proficiently that most listeners probably didn't even notice; for instance, in many cases his "guitar" on record was a sample of his axe played on a keyboard. </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;">Prince's cultural impact is almost incalculable. His unexpected death hit the world like a shock wave--<a href="http://blog.wikimedia.org/2016/04/22/prince-death-wikipedia/">his Wikipedia page was viewed over 800 times <i>per second</i> for over 10 million hits in the first day</a>. He had a <a href="http://fusion.net/story/294085/prince-blackness-and-sexuality/">particularly inspirational effect on people whose sexuality did not fit the standard prescription</a>, and <a href="https://www.google.com/search?q=prince+impact+on+queer&oq=prince+impact+on+queer&aqs=chrome..69i57.3891j0j4&sourceid=chrome&ie=UTF-8#q=prince+black+queer">a Google search for "Prince black queer"</a> yields over 1 million results. Prince was different </span></span><span style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;">in one particular way </span><span style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;">from Michael Jackson, the other androgynous music superstar-genius of the 1980's with whom he was often conflated: while Jackson seemed to try to minimize (erase?) his blackness, Prince proudly embraced it, publicly participating in the #BlackLivesMatter movement in ways expected (such as</span><a href="http://www.npr.org/2015/05/09/405433309/songs-we-love-prince-baltimore" style="font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;"> releasing the song "Baltimore" after the death of Freddie Gray</a><span style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;">), and less so (inspiring the creation of #YesWeCode to teach low income youth to program computers). As writer </span><a href="http://www.thefader.com/2016/04/22/prince-black-politics" style="font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;">Laur M. Jackson wrote in <i>Fader</i>, "Prince was black as fuck"</a><span style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;">. </span></div>
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<span style="font-family: inherit;"><span style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;"><a href="http://themuse.jezebel.com/prince-spent-his-life-elevating-and-mentoring-women-1772479454">Prince was also a supporter of, and fan of, women musicians</a>. From the songs he wrote for <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwiCsNX3gabMAhXBPj4KHdMvAgIQyCkIIDAA&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D4LS_9nM4bm0&usg=AFQjCNGGkNhQ5pm2j2tVqZpICDSZuX-Pjg&sig2=ddHp6NJIxgGyAW5akqpKJQ">Sheena Easton</a>, <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwi97ouBgqbMAhWGyj4KHRudBwAQyCkIHzAA&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DXeJLZi0uyJw&usg=AFQjCNH9tdJ38Y6geYx4VoYykcpKNn0fDA&sig2=Lzus_mgy1AYq23NguQvxEg&bvm=bv.119745492,d.cWw">Sheila E</a>, <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&sqi=2&ved=0ahUKEwiE3deLgqbMAhXGyT4KHWDtDAIQyCkIHzAA&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DbfLZfyphg0M&usg=AFQjCNHoxntiNxPAivgCnB6mPAnFL6iN3A&sig2=POsyHuhl1yXp8zxc4YnyEg&bvm=bv.119745492,d.cWw">Vanity 6</a>, the <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&sqi=2&ved=0ahUKEwj5pvOTgqbMAhXTZj4KHanpCgEQyCkIHzAA&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DSsmVgoXDq2w&usg=AFQjCNHxJEZuIUid8zITM-xV3pGtBwopqQ&sig2=BIrodlVG_KPDK4XKOGS8Sg&bvm=bv.119745492,d.cWw">Bangles</a> and <a href="https://www.youtube.com/watch?v=auUPqxI1vqg">Sinead O'Connor</a> (among others), to giving women musicians, such as Sheila E, Wendy Melvoin and Lisa Coleman, and 3rdeyegirl prominent spots in his bands Prince respected women as equal collaborators in ways that are frankly impossible to imagine from nearly any other similarly famous bandleader. He always made sure to give praise to women artists who inspired him, from Joni Mitchell to Janelle Monae, and he never made it seem patronizing.</span></span></div>
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<a href="https://upload.wikimedia.org/wikipedia/en/thumb/a/af/Prince_logo.svg/870px-Prince_logo.svg.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="200" src="https://upload.wikimedia.org/wikipedia/en/thumb/a/af/Prince_logo.svg/870px-Prince_logo.svg.png" width="169" /></span></a></div>
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<span style="font-family: inherit;"><span style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 18.48px;">Prince was particularly famous (and ridiculed) for the time period when <a href="http://www.vanityfair.com/culture/2011/10/prince-bio-201110">he changed his name to an unpronounceable symbol (and became "The Artist Formerly Known as Prince")</a>. While people seemed to focus on "outrageous" aspects such as the symbol, or when he wrote "Slave" on his face, not enough people realized that he was standing up for his rights as an artist and creator of valuable and personally meaningful works. It boiled down to Prince wanting to own (and wanting all musicians to own) the full rights to the fruits of their creative endeavors. As he famously said of his pursuit of the recordings from which records, CDs and digital downloads are sourced "if you don't own your masters, your masters own you". Powerful words from a musician, and even more deep from an African-American.</span></span></div>
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<a href="http://www.guitarplayer.com/Portals/0/StandardImage/prince-gp-covers.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://icarusanybody.blogspot.com/2015/11/my-back-pages-look-at-guitar-player.html">As I've noted previously</a>, I have every <i>Guitar Player</i> magazine from 1986-2010, and I often reread <span id="goog_803228994"></span><a href="https://www.blogger.com/"></a>the back issues. Prince did not appear as often as I would have liked in the pages of the magazine, and his two cover articles by Art Thompson (January 2000 and July 2004) are rather sparse on actual content from the musician. Ironically, the deepest article about Prince came in the August 1993 issue in a feature about New Power Generation guitarist Levi Seacer, Jr. </span><span style="font-family: Arial, Helvetica, sans-serif;">What follows are some excerpts from the three articles:</span><br />
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<a href="https://lh3.googleusercontent.com/proxy/dOF2uwvvSoK7laKhikt5OjH9qaIwmPddepf0j_VO_buVvrlCG0QaX9OGsW32IVHdG2Q04lC_sk4EB8q_riOBaixRgpSFf8y4iG-VuDtB47LPYI9u4oURDjF2QYY" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://www.guitarplayer.com/Portals/0/StandardImage/prince-gp-covers.jpg" height="225" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>January 2000</b> :</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Do you conceive songs and arrangements in their entirety or do you play around with the music and lyrics until you get what you want?</i> </span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prince: I always know what the whole thing is going to sound like. It's all in here [<i>taps his head</i>], but it's in here too [<i>points at the console</i>].</span> </blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Recording hardware is part of the songwriting process?</i> </span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prince: I use punch-ins and spot-erasing as a compositional style--that's how I build and edit arrangements and performances. I'm quick enough with the record button that I can shave a letter off a word. But that's because I've been doing it for 20 years.</span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>How do you create rhythm tracks?</i></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prince: I generally build my tracks one at a time, but sometimes I use the band to get the rhythm down. In a way, it's more fun to get it out of people. You know, an idea is still yours even if you give it to someone.</span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Is it easier for you to play all the instruments?</i></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prince: It's not easier, but when I play all the instruments I'm not as greedy. I'm more greedy when we play live [<i>laughs</i>].</span> </blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>July 2004</b> :</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Thompson asked Prince about his then current system of giving concert goers a copy of his latest album <i>Musicology </i>(which was not available in stores):</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: inherit;">"<span style="background-color: white; line-height: 31.5px; text-align: start;">The CD is included in the ticket price, and we’re giving out approximately 50,000 copies each week in order to keep increasing the exposure to the new album. Right now, we’re only playing a few songs from </span><em style="background-color: white; line-height: 31.5px; text-align: start;">Musicology</em><span style="background-color: white; line-height: 31.5px; text-align: start;"> in the show, but that will change as people become more familiar with it.”</span></span> </span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: inherit;"><span style="background-color: white; line-height: 31.5px; text-align: start;"></span></span><span style="font-family: inherit;"><span style="background-color: white; line-height: 31.5px; text-align: start;">Although the massive giveaway seemed like an expensive way to promote an album, Prince disagreed. “It costs nothing to make the CDs,” he says. “And the benefit of having your artistic freedom is that there won’t be anyone forcing you to do a remix or anything else you don’t want to do. I don’t believe in remixing songs that are in the key of life. When the record people get in there and say, ‘Why don’t you do it like this?’ Well, that’s their prerogative if they own the contract. But bands break-up over contracts—just talk to the Eagles about that. I’ve asked record execs why they aren’t under contract with each other, and all I get is, ‘That’s a very funny idea, Prince.’ See, the fight for me has always been about freedom and ownership. It’s simply preposterous to me that someone is going to own your work in perpetuity.”</span></span></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">Later in the article, Prince bemoaned the current crop of young rock musicians and their lack of musical depth:</span></div>
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<span style="background-color: white; line-height: 31.5px; text-align: start;"><span style="font-family: Arial, Helvetica, sans-serif;">“I like the audience to be as sophisticated as my music is,” says Prince, “and, sometimes, I’ve had more fun doing challenging things in after-show concerts than playing the hits at the main show. The best players used to play rock and roll. The first time you heard Boston, it was this huge, amazing sound with all that guitar doubling. Same with Brian May—nobody sounded like him. I still think of Return to Forever as a rock band. Those guys could really play, but there ain’t nobody doing that in rock these days.”</span></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">He finished the piece by talking about the role his influences played in his creative process:</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 31.5px;">With only minutes to spare before showtime, Prince concluded the interview by saying, “When I changed my name back to Prince, I went into intense study of the bible with my friend Larry Graham. It gave me a sense of the world that I didn’t have before. For a long time, I was into living life to its fullest in every way possible—including spending as much time in the studio as I could. And while I still spend so much time in the studio that people say I should be in a 12-step program, at least now I know where I’m headed. Any musician who learns everything about their instrument will only know who they are if they spend the time to know God. That’s why I don’t like to talk about gear. People will go out and buy that stuff thinking it’s going to make them sound like me, and that’s not where it’s at. Go get your own stuff and come up with your own sounds. If you need a path to follow, a good place to start is by listening to Ike Turner—he was as tight as they come—or James Brown, who is all about rhythm. Put any colors you’ve learned from Joni Mitchell on top of that, and then you’ve got something!”</span><span style="background-color: white; line-height: 31.5px;"> </span> </span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">The 1993 article about Levi Seacer, Jr. was written by Chris Gill, and to me it captured Prince as a musician better than either of the cover stories from the following decade. The following are some lengthy quotes that helped the 23 year-old version of me come to more fully appreciate Prince as a musician and bandleader:</span></div>
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<span style="line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">With all due respect to James Brown, Prince is
the hardest working man in show business. Over his 15-year career he has
completed 15 albums (including the unreleased <i>Black Album</i>), made
three movies, toured the world several times, and produced dozens of artists.
When Prince announced his retirement from studio recording last April, he
revealed that he had 500 completed songs in the can. That's enough material to
allow him to release a new album every year until 2025.<o:p></o:p></span></span></div>
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<span style="line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">"The funk thing has
always been heavy with Prince," says Levi. "Every night [the band]
try to out-funk each other. We know where the breaks are going to be, but
after the break hits we play whatever we want. Each of us is thinking 'What can
I do to get Prince to make the funk face?' You know, when you play something
funky and you make that face where it looks like something's stinkin'. Every
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<span style="line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">More than anything,
Prince's long-overdue U.S. tour has reminded the public of the magnitude of the
man's talent. Few artists of his stature are as talented in one area as Prince
is in many. Levi comments: "People don't realize that he can do all that
stuff. Even when he's playing they don't realize it. I think it takes a couple
days to sink in. They'll go home and go 'Wow. He went from singing to playing
the guitar to the piano and dancing. He did all of that.' But when they're
there he does it so good that I don't think they realize that he's <i>super</i> talented.
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Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
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<!--EndFragment--></blockquote>
<span style="font-family: Arial, Helvetica, sans-serif;">The one positive to come out of this week is that it has become evident that there were countless people who did <b>not</b> take Prince for granted. So take some time to dig into your record collection (or log into Tidal) and give an American genius some of your time. You'll be better off for having done so. </span><br />
<br />
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