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Congrats brother! I would love to do this exact thing. Why is it so hard to find blues players who actually love to play blues (instead of just competent players looking for an extra income source)??? And that goes DOUBLE for keyboard players!!
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03-18-2025 11:06 AM
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Teddy also ran as a Progressive, so....
Originally Posted by Stringswinger
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Yeah, modern Country music is just mediocre 70's rock. I would rather stay home than play that stuff. But classic Country is good stuff. And at my age, playing the geriatric circuit is about right. Like my classic Harley-Davidson Shovelhead, I may be old, but I am not used up. Originally Posted by mr. beaumont
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This is the sort of thing I used to say but my wife was down for some CMA foundation stuff a few times this year and I kind of ate my words. Originally Posted by Stringswinger
I think maybe country 2000-2015 kind of sucked and I stopped listening. There’s still lame stuff out there but it’s been on an upswing.
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I played that Tennessee Whiskey song at a bunch of open jams out here. It was cromulent, would play again. I liked playing my lap steel to Hank Williams better, but I'd take a country gig on my steel any day.
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This is my favorite place to end up, in agreement. Originally Posted by Stringswinger
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Blues IMO is in a cultural crash-out phase right now and the number of competent players to choose from is the lowest I've ever seen it. There are still a pool of guys, but the pool is much smaller. There is still a pool of clubs, but the numbers are fewer. There is a general disinterest among the public because a lot of what passes as blues is just awful cliched garbage or guys playing rock music with pentatonics. Most post 1960's rock players do not know how to function in a blues band. Originally Posted by ruger9
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I hate that song. I am finally in a space where people do not request it from me anymore, lol. Originally Posted by AllanAllen
I love lap and pedal steel, among my favorite instruments, I just couldn't afford a 3x4 pedal steel and that's pretty much the industry standard so all the lessons were geared around that four knee lever emmons setup. I had an MSA but it only had one knee lever, E-Eb, and I couldn't source the additional parts I needed to add knee levers so I got rid of it and the Gold Tone LS-8 lap I had. Sucks cause I was getting into it and starting to nail the melody to Bud's Bounce plus getting my chord grips down. I didn't want to fool with a bunch of bar slants as a band aid only to one day get a modern steel and have to relearn everything.
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Speaking of pedal steel, I understand that this is one of the best amps, if not the best amp, for it. I'm seeing these sell for about $2,000 now online -- Webb 6-14 E Steel Guitar Amplifier | ShopGoodwill.com Originally Posted by DawgBone
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The only thing with the classic country is a lot of the bandleaders want things played "right." It's sometimes the anti-jazz. Originally Posted by Stringswinger
And some of it of course, needs to be played right...I mean, you gonna improvise the intro to a Johnny Cash tune?
The JC act I did play with though, he'd let me cut loose on at least one song per show, usually something from the Bob Wootton years...
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This band sounds great, Dawgbone. Hopefully some sound and/or video soon?
I love blues myself, but I tend to prefer the acoustic side of things. Blind Boy Fuller, Mississippi John Hurt, those guys.
Derek
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Years ago, I was in an acoustic blues phase and The Reverend Gary Davis and Mississippi John Hurt were the cats. Great stuff. Derek, what guitar(s) do you prefer for that music? Originally Posted by digger
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I'll see if I can get some decent footage down the road. I shot some footage saturday but another band member reviews it and I didn't have high hopes. I have issues with getting the whole band in the shot plus getting good audio since the mics are on the camera, a Sony MV-1. It's a good unit but I can't put it in the crowd of a packed house or someone will break it, lol. Originally Posted by digger
I am a big fan of John Hurt and learnt a bunch of his songs while living in Nashville. Since many of the finger pickers there can play that stuff well it helped me learn it easier seeing it in person. I can do some of the basic John Hurt stuff but I can't quite nail the rolling feel he has. I was doing that sort of stuff as a solo act for a while and I have done many 3 piece gigs but my preference is four or more players. It's nice having two chordal instruments behind me for a change!
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I have a Yairi-Alvarez Hohner HG710 these days myself. A nice japanese built laminate jumbo j200/Guild-esque copy. I had a nice Blueridge Gospel for a while also and a couple different resonators though they aren't my first choice for John Hurt. My wife is the acoustic nut with four or five nice acoustics Martins etc and that's after I made her pare it down. She has a similar Hohner to mine only it's a D41 copy. Between the two of us I suppose we've had maybe 30 guitars go through here since we married. At least she never gives me grief about keeping my amps in the living room! Originally Posted by Stringswinger
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I have a Martin 00015m and a Michael Messer Lightning resonator, but to be honest most of the time I use my Tanglewood TW60. It's a gem of a guitar, great live, and, perchance, is my cheapest guitar too! Originally Posted by Stringswinger
Derek
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That's a nice Martin. I told my wife that was the one to get but she's obsessed with dreadnoughts so she has the D-15M and a D-18. Originally Posted by digger
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I'm very hooked on my 000-15m. It's pretty much satisfied all my needs for any kind of flat top guitar. And they're great for jazz!
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Back when I was into acoustic blues, I had a Guild M-20 which was Guild's cheapest guitar at the time (all mahogany, satin finish). I suppose it is the same as a Marin 00-15M. The guild had a 1 /5/8 nut. I am guessing that a 000-15M would scratch that itch way better for me at this point (slightly bigger bout and wider nut). That sounds like a versatile flat top that would,'t break the bank and would hold value.. Originally Posted by mr. beaumont
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I'm a certified geriatric (old enough that I was already in college when the British Invasion started), and I find as much pleasure in classic country as I do in any of the traditions I've encountered in the 70-plus years of paying attention. At the weekly jam at a local brewey (decent beer, crap acoustics) there are several former touring-band guys, one of whom has a repertory of honkytonk and sentimental love songs and countrified waltzes that even I haven't heard before. And Hank, of course, and Cindy Walker and Merle Haggard and Johnny Cash and even a dash of Bob Wills. Wonderful stuff, and a kind of technical relief for me after the challenges of keeping up with the bop-loving jazz players who tolerate my presence on Thursday nights. (I sure wish the swing-dance revival would revive again.)
I don't find electric blues as interesting as I did a half-century ago, but then I don't find rock as compelling, either, and the social settings in which those musics operate are not exactly comfy for an 80-year-old. Last week some players I really like and respect put on an Elvis Costello-Joe Jackson tribute show, and I finally decided that even respect and friendship were not enough to get me to attend. Just not my music. (And probably too loud, which is one reason I haven't attended a rock performance in decades.) But then I'm just a jumped-up folkie with a bunch of acoustic guitars, so what do I know.
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For the blues, I love top quality small body flat tops. My Larrivee parlor guitar was fantastic and I highly recommend them. Like fine smaller archtops, the best small flatties really cut through a band, and they make a surprisingly big sound. Originally Posted by DawgBone
My favorite Martin is the 0-16NY that I kept by our bed for years. It's a small body 12 fret wide nut (1 3/4", IIRC) flat top that has the sweetest sound I've ever heard from an acoustic. It's great for finger picking, plectrum, and hybrid. It sounds great with metal and glass slides, and it's very very touch sensitive. I only sold it because I'd switched to 7 strings and it needed a fair amount of work that would have cost some $$ to do right. I even looked into having a luthier make me a 7 string copy of it, but I decided the cost wasn't justified for me, even minus the money I got for selling the 0-16. I'd still be using my 7 string Ibanez AEL207 when needed for a gig.
Dreads are great too - I bought a D-28 new in '69 and played it for years. But if I could only have one flat top, it'd be an 0-16NY or something like it.
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Even then, there are sub-genres. As much as I love "electric blues", I have no interest in sitting through a Muddy Waters/John Lee Hooker type "straight" or "blues jam" blues. I have to have some swing and/or R&B in my blues. It doesn't have to be West Coast/jump blues, but it's gotta' be more interesting than the famous "blues jam" alot of "blues" bands play all night. Originally Posted by RLetson
Give me some Albert Collins, BB King, Freddie King, SRV, Tab Benoit... anything from Stax, some stuff from Chess (early Buddy Guy is awesome)...Muscle Shoals has some stuff that could fit...
Every time I go to see a "blues" band around here, it's several guys who are NOT a "band", they just "know some stuff", and they can all fall in and play "blues" good enough for most bar-goers, I guess. But it's all the same stuff... same tempo, same beat, same 12-bar BORING. They MIGHT know something cool like "Hideaway" if you're lucky. "The Thrill Is Gone" perhaps. Last blues band I saw played 2-3 interesting songs out of 30. I could've napped. And I LOVE blues. I want to be in a blues band... one that rocks and swings and is upbeat and gets people dancing and having fun.
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I've always wanted a tri-cone resonator, they just look so cool. Even before I knew they were a blues thing, when I'd get the guitar center catalog in the mail in high school, I'd always look at and dream of a resonator and an f hole guitar. I didn't know they were called Archtops.
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Yeah, baby!! I've had this one since they came out in 1994. Originally Posted by AllanAllen
It sounds fantastic through my Twin, DB. I mic it with a pair of tiny lapel mics with foam pop shields - one wedged in the hole closest to the resonator on the treble side and one wedged under the bridge cover where it joins the long support T. But feedback is an issue at the volumes you play. There are some nice thin humbuckers for resonator guitars that sit on the top at the end of the FB, and I may break down and buy one someday. But they don't sound quite as "right" as mics.
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I got my first resonator guitar, a single cone metal Dobro in 1975. Actually talked a banker into loaning me the $500 bucks I needed. Many years later I sold it and about 5years ago I bought a Republic (Chinese import) tri cone single cutaway and I just love it. Quite loud. ..enough that I've done b,d,g trio gigs totally unamplified at times.
Here's my kinda rustic version of Sidney Bechet's Petite Fleur with the tricone..
Last edited by Dean_G; 03-20-2025 at 03:16 PM. Reason: Added video link
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With a nubby slide too! I don't think I've ever seen someone use on in the wild
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