-=> Richard Webb wrote to James Bradley <=-
...
JB> "Where's that confounded bridge?"
RW> "I'm just tryin' to find the bridge."
Little known quote from the same group:
"We've done four already but now we're steady and then they went."
RW> Btw it's funny how many young drummer come in and when I
RW> ask them to show me an example of the kind of drum sound
RW> that would come as close as could be to musical orgasm for
RW> them if it were to be heard on their recording they play
RW> that band for me. THen they look at me strange when I
RW> don't close mic the kit, or even funnier when I tell 'em
RW> what we
RW> need is a big room to record their drums in. I explain
RW> to them that you don't put your ear right up to a drum to
RW> listen to it, which is essentially what you're doing with a
RW> close mike. tHe Bonham studio sound was big rooms, only
RW> two or three microphones.
Yup... Can't capture *that* in an iso-booth. Even when the old codger was
playing quiet, he was LOUD.
AH> Chords -- something organists play with one finger
RW>
JB> MOD: Chords -- something accordionists play with one finger PS: I
JB> just read your next post, so the MOD stands.
RW> YOu bet!!!
L!!! Bagpipers do it by just blowing hard.
...
JB> We get all the blame, even if it *was* the base player/horn section!
JB>
RW> Yeah I know, bass players can do that easily, or other
RW> rhythm section elements. USually because they're not
RW> paying close enough attention to the drums, or because
RW> they're
RW> trying to push the tempo for other reasons, i.e.
RW> uncomfortable singing at that tempo or similar. That's one
RW> thing all the midi work did for me, it improved my sense of
RW> when I was trying to push or pull the tempo.
What an eyeopener when I first tried to play along to my drum box. Sitting
"in the pocket" is the sign of a good player, but if one other member of
the rhythm section tries to drag that pocket further, often with the best
of intentions - "That drummer can't keep time." If the person holding the
sticks notices the singer struggling with the tempo, a great player can
adjust to take one for the team. "That drummer can't keep time." even if
it *was* the keyboardist that initiated the tempo shift.
RW> YEp, the tension adjustment for the snares, the lugs on the
RW> top heads, lugs on the bottom heads.
I have a marching snare here that I can adjust each snare wire
tension independently from each other. Each side of the basket is height
adjustable also. It's the second such arrangement I've had in my stable,
but I sold the first out of stupidity. That old unit was a 'snap' to
adjust. It took forever to get just right, but my, did it sing!
RW> You'd be surprised in my bar band days though how many
RW> times I'd go to a gig to find a pickup drummer who didn't
RW> have a
RW> drum key or common hand tool.s A drum key, common hand
RW> tools, and wd40 for kick drum pedals was part of my gotta
RW> have it toolkit for gigging.
WD40 didn't *exist* in my bar-daze! Still, a box of fluids, a box of tools,
and a box of expendable were always on my list. Inside one of those boxes
was always a box of band-aids, mole-skin and what-nots. Besides sticks and
skins, drumming is expensive! If you haven't worked for a while, physically
you might not make it through a night.
JB> Boy, did I pick it wrong!
RW> Yeah I know, think about those guys carrying those cp-80
RW> Yamaha "electric grand" pianos with the pickups. 88 keys.
RW> AT least they didn't have the unisons in the middle and
RW> upper RW> regions.
"Unisons"????
RW>
JB> Smartest entertainers of our days! As mentioned, who needs to carry
JB> a tune these days or even annunciate the "lyrics"? I've hated on
JB> the current state of "popular" music for years, but George Clinton
JB> said it best. In a mumble, "Whatever you say - and we tried - Rap
JB> music brought blacks and whites together for better or worse."
RW> YEah I know, I see as many suburban white kids digging that
RW> stuff as black kids. I just shake my head. That rap album
RW> I did was for a suburban white kid. .
A neighbour and I have been working on a "suburban white kid" for her
tastes in tunes. What're you gonna do, eh? A few Holloweens ago, I was
doling out the treats to a few late stragglers when a car drove by thumpin'
and bumpin' so loud I could hear something in the trunk rattling. I asked
the girls what it must sound like *inside* that vehicle if it sounds so bad
from here.
...
JB> Now, Shirley's no Patsy Kline but she has plenty to offer. Had it
JB> not been for those boys that discovered her, we would likely never
JB> know her name but, I'd still love to hear her do a duet with The
JB> Holly Crow Trio.
RW> I always thought the same, I'd like to hear her voice
RW> without all that. But then you have to remember that Butch
RW> Vigg is heavily into that stuff. That was sort of the
RW> effect this alternative band I mentioned was going for.
I suppose the experiment that was Garbage worked and was valid as art, but
I still don't hang it on my wall either. I just wonder if they were an
instrumental group how well the music would hold up. Different strokes, I
suppose....
... James
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