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Tuesday, May 1, 2018

"Uh Oh Love Comes to Town"

The first Talking Heads album I picked up was Stop Making Sense, an album I bought blindly knowing nothing about, other than I wanted some Talking Heads in my rotation. Often times record companies will fool a buyer by designing a live album to appear as a "Greatest Hits" album, disappointing the customer expecting to hear familiar radio hits. That wasn't the case with me and Stop Making Sense. As an Allman Brothers fan, I was into live music, and the Talking Heads were an excellent, energetic live band. Also, Stop Making Sense isn't your typical live album. It's one of the greatest concert films ever put together, artfully designed for stage by David Byrne, and expertly filmed by Jonathan Demme, who understood that the spectacle on stage was the attraction, not the LA crowd. Once I owned the film on disc, I watched it constantly (as my roommates will attest to). But there was still a lot of Talking Heads to explore. I picked up a bunch of their studio albums, including their first one, 77, which hits the ground running with the catchy and upbeat, "Uh Oh Love Comes to Town".

As one of my favorite bands, I'm surprised it took me this long to cover a Talking Heads song. But I go in and out of love with them, listening to them in heavy doses and just as quickly turning them off for months. But not all music I enjoy listening to is music I can perform. David Byrne has a specific style and delivery that is difficult to adapt - his unique voice isn't always pitch perfect, but it's always honest and vulnerable. It's a similar issue I had when I covered a Lou Reed song. I tried to forget Byrne's delivery and sing it as if I'd never heard it before, which doesn't mean it's good, but it's less worse. I decided to adapt the steel drum to dobro and add a little mandolin to give the song the same fun, light step that attracted me to the original.

Tuesday, March 20, 2018

Custom Daddy Mojo Rosetta

Once I went down the cigar box guitar rabbit hole a few years ago, I stumbled upon the 6-string biscuit cone cigar box guitar made by Daddy Mojo Instruments. Based in Montreal, Lenny makes a number of amazing instruments from more traditional cigar box guitars to art deco diner table-themed guitars. I've used the 6-string biscuit cigar box repeatedly, but just last week I received a custom-made Rosetta biscuit cone guitar. I've always been a fan of the old Gibson archtop guitars, so Daddy Mojo's Rosetta models immediately caught my eye. But Lenny created a whole new model, and I encouraged him to create what came to him as an artist - I felt like I would just request paint jobs and designs that I already had. What he went with turned out amazing, and the pick-up sounds like something between a Telecaster and a National, which I love. Lenny refers to the finish as creme brulee, but being from Wisconsin, it looks more smoked gouda to me. The disc pattern is similar to old Collegeian Nationals, or the phases of the Florida sun which never goes away.






Monday, March 12, 2018

"Down By The Seaside"


Acoustic Zep Set, late 1970s
When you grow up with 2 older brothers in the 1980s, you are going to hear a lot of Led Zeppelin. Regardless, Zep was always on the radio even when the Classic Rock station wasn't getting "THE LED OUT". Even those who don't listen to a lot of 1970s rock 'n roll are still going to hear a fair share of Led Zeppelin in their lifetime - Zep's music is still everywhere. That's probably why I only listen to them in spurts these days. There are some great bands that I just have to take an extended break from - even favorites like The Beatles and David Byrne have to stay on the shelf for periods so I can appreciate them on a future fresh listen. Led Zeppelin is in that category - I probably haven't heard "Stairway to Heaven" in over a decade.

One song I never tire of is Physical Graffiti's "Down By The Seaside". It was written by Robert Plant & Jimmy Page and recorded during the IV sessions, however, there wasn't enough room on the LP for it so it sat on the shelf for a few years. Some bands have such creative peaks that they can't fit everything on their next record due to the constraints of an LP side. Led Zeppelin released their first four albums over a 3 year period (1969-71), and aside from "Hey Hey What Can I Do?" as an exclusive B-side single, the popularity of the album format meant extra songs stayed on the shelf. When recording sessions for 1975's Physical Graffiti were so successful it meant the band would exceed the maximum run time for 2 sides of an LP, it afforded them the opportunity to include previous songs that hadn't made the cut to fill the second LP. "Down By The Seaside" was never performed live by Led Zeppelin, but it did make a bit of a comeback in the mid-1990s when it was rearranged with a more ethereal vibe by Robert Plant and Tori Amos for a Zeppelin tribute album.

It's easy to see why "Down By The Seaside" didn't make the cut for previous albums - on the surface it's fairly unremarkable except for the novelty of Robert Plant singing about "little fishes". Considering Zeppelin's penchant for hard blues rock and acoustic folk, "Seaside" might have fit better on Houses of the Holy alongside lighter songs like "The Ocean", "Over the Hills & Far Away", and "Dy'maker" - then again, it might have seemed redundant next to those tunes. John Paul Jones' breezy keyboards are what drew me to to the song. It's a deceptively tough vibe to get without those keys, which I tried to adapt to dobro. You never want "laid back" to become slow and muddy, and sometimes less is more difficult to pull of than more.


Wednesday, February 14, 2018

Acoustic Guitar-to-Bass Conversion Test Drive: "Into the Mystic" redux

After years of heavy gauge strings and high action on my 1985 Sovereign acoustic guitar, the guitar finally became unplayable. A luthier I took it to practically gave it last rights, so I spent the past year searching for a replacement. After flirting with low-end Martins and "high-end" used Sigmas, I found an 8 year-old Blueridge. It's pretty solid and sounds pirty, but after years of playing the old Sovereign, it will take some playing to get the newer wood of the Blueridge to have the same depth I'm used. But being able to play at the 2nd fret is awfully nice.

Sovereign Acoustic Bass | Blueridge Dread
Once the Blueridge arrived I wondered what to do with the Sovereign. For a while I kept it tuned to G, but the bridge is pretty wrecked - I didn't feel like wasting another set of guitar strings on it and further stressing it. While I was searching for a new guitar I did a brief stint in a great local acoustic band, and the bass player and friend, Bob, had converted an old acoustic guitar into a short-scale acoustic bass. I have always kind of wanted an acoustic bass - they are easier to mic than a bass amp, and the woody sound is a better fit alongside resonators and acoustics instruments. I was never going to spend any serious money on one anytime soon, yet here I was with a resonant acoustic body. After some quick research online I bought a 4-string trapeze tailpiece, some new tuners, a fresh saddle, and something I never thought I'd own - a drill. In about an hour I had a brand new acoustic bass. The tailpiece kept the stressed bridge safe from further damage, but the short-scale strings caused uneven tension and thus laid at an angle from nut to tailpiece. I thought I had installed the tailpiece incorrectly. But after a quick adjustment, the strings came into alignment (and better intonation at the frets). It's not perfect, but it should have a nice second life.

I decided to test it out on one of my favorite bass lines, "Into the Mystic". I was never happy with the first recording I did, which was a massive wall of sound captured by an inferior mic. This new take is pretty much the same arrangement as before, but slowed down and minus about 7 instruments.


Friday, January 26, 2018

"Plastic Jesus"

After a busy end to 2017, I finally got around to recording a new tune. Well, not only was 2017 busy, the high action on my acoustic guitar finally became unplayable after years of heavy gauge strings pulling on the neck. It's a shame, it had a nice woody, deep tone, which is why I am going to try to convert it to a short scale bass. After nearly a year of researching acoustics, I settled on a Blueridge, which has a great full sound. To test her out I decided to take a stab at "Plastic Jesus", a popular novelty song written in 1957. It is best known as the song Lucas Jackson sings after hearing of his mother's passing in Cool Hand Luke, but it has been covered by everyone from The Flaming Lips to Billy Idol to Widespread Panic. I was probably most inspired by The Wandering Endorphins' expanded acoustic version which is a lot of fun. I thought about adding bass and harmony vocals, but didn't want to overload a 90 second tune.


Thursday, July 20, 2017

My First Dobro

circa 1995 (evidence: pastel couch)
At the age of 14 I got my first guitar, a cheap Yamaha electric and bad Peavy amp. Typical beginner equipment, easy to return if the kid gives up after a month. Well, 2 months later I had a Les Paul - just happened to see a cheap used one at the guitar store and my music-loving parents could see I was hooked.

Typically if a kid wants to go acoustic, they get a regular acoustic guitar. I got a Regal Dobro. I loved the sound of Duane Allman dobro's on "Little Martha" and "Please Be With Me" and Dickey Betts on "Pony Boy", so I just had to have one. I didn't have it for long, the cones started buzzing, which happens as seasons change. But I thought it was broken, so I returned it for a Marshall Amp. It would take 20 years before I replaced the dobro, and damn am I glad to have another one.

Monday, July 17, 2017

Altered Roots Band

Altered Roots Band at Funky Buddha Lounge
Last month I joined Altered Roots Band, founded by singer/songwriter/guitarist/foot-drummer Kenny Karr. After I finally got settled in south Florida, I decided it was time to stop picking songs on my own - I missed playing music with other musicians. Years of jamming on songs I didn't always know at Rocky Sullivan's Monday Jams back in Brooklyn prepped me for quickly picking up the material, especially Kenny's own excellent originals. The concept is "Americana Re-arranged", which naturally attracted me considering all of the acoustic re-arrangements I've been doing with this project.  However, I still get to plug in the PRS pretty often, so it's a really nice mix so far.

The band is rounded out by the excellent Bob Zimmerman (aka, The Mad Scientist) on bass and Emily Carter belting some fantastic lead and harmony vocals. UPDATE: Check out some highlights from an October show.