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ourshadowstallerthanoursoul · 10 months

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Interview to JPJ

(by Steven Rosen, Guitar Player - July 1977, Chicago)

It was shared on ultimate-guitar.com by Steven Rosen himself (link). I suggest going to read the introduction because there's a bit of angry JPJ which is quite surprising (to me at least). Enjoy!

What was the impetus behind becoming a bass player?

I used to play piano when I was younger, and there was a rock and roll band forming at school when I was fourteen, but they didn't want a piano player, all they wanted was drums or bass. I thought, I can't get the drums on the bus, bass looked easy, four strings, no chords, easy so I took it up. And it was easy; it wasn't too bad at all. I took it up before guitar, which I suppose is sort of interesting. Before I got a real 4-string, my father had a ukulele banjo, a little one, and I had that strung up like a bass, but it didn't quite have the bottom that was required. Actually my father didn't want to have to sign a guarant or to back me in the payments for a bass. He said, ‘Don't bother with it; take up the tenor saxophone. In two years the bass guitar will never be heard of again.’ I said, ‘No Dad, I really want one, there's work for me.’ He said, ‘Ah, there's work?’ And I got a bass right away.

What was your first bass?

Oh, it was a pig; it had a neck like a tree trunk. It was a solid body Dallas bass guitar with a single cutaway. It sounded all right though, and it was good for me because I developed very strong fingers. I had no idea about setting instruments up then, so I just took it home from the shop. I had an amplifier with a 10 speaker... Oh, it was awful. It made all kinds of farting noises. And then I had a converted television; you know one of those big old stand-up televisions with the amp in the bottom and a speaker where the screen should be. I ended up giving myself double hernias. Bass players always had the hardest time because they always had to cope with the biggest piece of equipment. It never occurred to me when I was deciding between that and drums that I'd had to lug a bass amp.

What kind of music were you playing in that first band?

Shadows, Little Richard, Jerry Lee Lewis stuff. I started doubling on piano. We didn't have a drummer at first, because we never could find one. That happened to another bass player, Larry Graham, Sly Stone's bass player. He started off in a band with no drummer, which is how he got that percussive style. You've got a lot to make up for once the lead guitar takes a solo because there's only you left. You've got to make a lot of noise. We got a drummer after a while whom I taught, would you believe. I've never played drums in my life.

That must have definitely had an influence on your playing.

I suppose it must have. I don't like bass players that go boppity boppity bop all over the neck; you should stay around the bottom and provide the end of the group. I work very closely with the drummer; it's very important.

How long did that first band last?

Not very long. I found a band with a drummer. This band also came along with really nice looking guitars, and I thought, ‘Oh, they must be great!’ They had Burns guitars so I got myself one, too. The one with the three pickups and a Tru-Voice amplifier. We all had purple band jackets and white shoes, and I thought, ‘This is it, this is the big time.’ But as soon as I got out of school I played at American Air Force bases, which was good training, plus they always had great records in the jukebox. That was my introduction to the black music scene, when very heavy gentlemen would come up insisting on Night Train eight times an hour.

What was the first really professional band you were in?

It was with Jet Harris and Tony Meehan (bassist and drummer with The Shadows). That was when I was seventeen, I suppose. And those were the days when they used to scream all the way through the show. It was just like now, really, where you have to make a dash for the limos at the end of the night make a sort of terrible gauntlet. In the days before roadies, you'd have to drag around your own gear, so we all invested in a roadie. We thought we owed it to ourselves, and this bloke was marvelous. He did everything, he drove the wagon, he lugged the gear, he did the lights... the whole thing.

What kind of bass were you using with Harris and Meehan?

Oh, I got my first Fender then. I lusted after this Jazz bass in Lewisham, and it cost me about $250, I think. It was the new one. They'd just changed the controls, and I used that bass up until last (1975) tour, and then she had to go. She was getting unreliable and rattling a lot, and I just had to leave her home this time.

What followed your working with that band?

I got into sessions. I thought, ‘I've had enough of the road’, bought myself a dog and didn't work for six months. Then I did start up again. I played in other silly bands. I remember that Jet Harris and Tony Meehan band, John McLaughlin joined on rhythm guitar. It was the first time I'd met him and it was hilarious. Here he was sitting there all night going Dm to G to Am. That was my first introduction to jazz when he came along, because we'd all get to the gig early and have a blow. Oh, that was something, first meeting him. And then I joined a couple of other bands with him for a while, rhythm and blues bands.

Do you remember the first session that you ever did?

No, I don't think so; it was in Decca Number 2 (studio in London). I was late, and I suddenly realized how bad my reading was. There was another bass player there, a stand-up bass, and I was just there to provide the click. It was nearly my last session.

Who were some of the people you were doing sessions with?

All kinds of silly people: used to do calls with Tom Jones, Cathy Kirby, Dusty Springfield.

The Rolling Stones and Donovan, too, didn't you?

I only did one Stones session, really. I just did the strings, they already had the track down. It was ‘She's A Rainbow’. And then the first Donovan session was a shambles, it was awful. It was ‘Sunshine Superman’ and the arranger had got it all wrong, so I thought, being the opportunist that I was, ‘I can do better than that’ and actually went up to the producer. He came around and said, ‘Is there anything we can do to sort of save the session?’ And I piped up, ‘Well, look how about if I play it straight?’ because I had a part which went sort of ooowooooo (imitates a slide up the neck) every now and again, and the other bass player sort of did wooooo (imitates downwards slide) down below, and then there was some funny congas that were in and out of time. And I said, ‘How about if we just sort of play it straight; get the drummer to do this and that?’

How did the session go?

The session came off, and I was immediately hired as the arranger by Mickie Most whom I loved working with; he was a clever man. I used to do Herman's Hermits and all that. I mean they were never there; you could do a whole album in a day. And it was great fun and a lot of laughs. I did all of Lulu's stuff and all his artists. I did one Jeff Beck single, and he's never spoken to me since. It was ‘Hi Ho Silver Lining’. I did the arrangement for it and I played bass. Then we had ‘Mellow Yellow’ for Donovan, which we argued about for hours because they didn't like my arrangement at all, not at all. Mickie stood by me. He said, ‘I like the arrangement, I think it's good’. It wasn't Donovan. He didn't mind either but he had so many people around him saying, ‘Hey, this isn't you.’ But he sold a couple of a million on it, didn't he?

Was the Hurdy Gurdy Man session when you first met Jimmy Page?

No. I'd met Jimmy on sessions before. It was always Big Jim and little Jim. Big Jim Sullivan and little Jim and myself and the drummer. Apart from group sessions where he'd play solos and stuff like that, Page always ended up on rhythm guitar because he couldn't read too well. He could read chord symbols and stuff, but he'd have to do anything they'd ask when he walked into a session. But I used to see a lot of him just sitting there with an acoustic guitar sort of raking out chords. I always thought the bass player's life was much more interesting in those days, because nobody knew how to write for bass, so they used to say, ‘We'll give you the chord sheet and get on with it.’ So even on the worst sessions you could have a little runaround. But that was good; I would have hated to have sat there on acoustic guitar.

How long did you do sessions?

Three or four years, on and off. Then I thought I was going to get into arranging because it seemed that sessions and running about was much too silly. I started running about and arranging about forty or fifty things a month. I ended up just putting a blank piece of score paper in front of me and just sitting there and staring at it. Then I joined Led Zeppelin, I suppose, after my missus said to me, ‘Will you stop moping around the house; why don't you join a band or something?’ And I said, ‘There are no bands I want to join, what are you talking about?’ And she said, ‘Well, look, I think it was in Disc, Jimmy Page is forming a group’, he'd just left the Yardbirds ‘why don't you give him a ring?’ So I rang him up and said, ‘Jim, how you doing? Have you got a group yet?’ He said, ‘I haven't got anybody yet.’ And I said, ‘Well, if you want a bass player, give me a ring.’ And he said, ‘All right, I'm going up to see this singer Terry Reid told me about, and he might know a drummer as well. I'll call you when I've seen what they're like.’ He went up there, saw Robert Plant, and said, ‘This guy is really something.’ We started under the name the New Yardbirds because nobody would book us under anything else. We rehearsed an act, an album, and a tour in about three weeks, and it took off. The first time, we all met in this little room just to see if we could even stand each other. It was wall-to-wall amplifiers and terrible, all old. Robert (Plant) had heard I was a session man, and he was wondering what was going to turn up some old bloke with a pipe? So Jimmy said, ‘We're all here, what are we going to play?’ And I said, ‘I don't know, what do you know?’ And Jimmy said, ‘Do you know a number called, The Train Kept A Rollin'?’ I told him, ‘No.’ And he said, ‘It's easy, just G to A.’ he counted it out, and the room just exploded, and we said, ‘Right. We're on, this is it, this is going to work!’ And we just sort of built it up from there. ‘Dazed And Confused’ came in because Jimmy knew that, but I could never get the sequence right for years; it kept changing all the time with different parts, and I was never used to that. I used to having the music there, could never remember. In fact, I'm still the worst in the band remembering anything. And the group jokes about it, ‘Jonesy always gets the titles wrong and the sequences wrong.’ Even now I have a piece of paper I stuck on top of the Mellotron which says: ‘Kashmir remember the coda!’

What were some of your early amplifiers?

I've used everything from a lousy made-up job, to a great huge top valve (tube) amp. We started off in a deal with Rickenbacker where we had these awful Rickenbacker amps; they were so bad. Our first tour was a shambles. For about a year I never even heard the bass. They said, ‘We've designed this speaker cabinet for you’, and I said, ‘Let me see it, what's it got in it?’ It had one 30 speaker! I said, ‘All right, stand it up there alongside whatever else I've got, and I'll use it.’ I plugged it in, and in a matter of five seconds it blew up. I thought the bloke was having me on; I said, ‘There's no such thing as a 30 speaker!’ And I had to take the back off because I couldn't believe it. Then we met the guy from Univox, and he came up with a bass stack, which unfortunately didn't last the night. But while it was going, it was the most unbelievable sound I've ever heard. It was at the Nassau Coliseum in New York, I remember, and the bass filled the hall. It was so big, it couldn't have lasted. I don't think I'll come across anything that sounded like that. But as I said, three numbers and wheel the Acoustics out again. I used two or three 360 standard Acoustics for quite a long time. They served me well.

You used the Jazz bass until just recently?

Yeah. Oh, I got a hold of a very nice Gibson violin bass (pictured in the little cut out wheel on the cover of Led Zeppelin III). That was nice, too, it's not stage worthy, but it gives a beautiful warm sound. I don't like Gibson basses generally because they feel all rubbery; I like something you can get your teeth into. But the violin bass was the only Gibson that was as heavy as a Fender to play, but still had that fine Gibson sound. I used it on Led Zeppelin III, and I've used it every now and again, usually when I'm tracking a bass after I've done keyboards for the main track. The one I have went through Little Richard's band and then through James Brown's band, and it arrived in England. In fact, I saw it in an old movie clip of Little Richard. It was probably about a '48 or '50 or something like that; it was the original one. Actually, I've also got an old '52 Telecaster bass. I used that on stage for a while, for ‘Black Dog’ and things like that.

Do you ever use a pick when you play?

Yes, when the situation demands it; on the 8-string it's awful messy with your fingers. On ‘The Song Remains The Same’ I use a pick to get that snap out of the instrument. It's fun, you play different. If I was just playing straight bass, I'd use fingers. When I first started I always used my fingers.

How has playing with Jimmy Page for the last nine years styled your playing?

That's hard. I play a lot looser than I used to. For instance somebody like John Entwistle is more of a lead instrument man than I am. I tend to work closer with Bonzo I think. But then again I don't play that much bass on-stage anymore, what with the pianos and the Mellotron. I'll always say I'm a bass player, though.

How do you develop a bass part?

You put in what's correct and what's necessary. I always did like a good tune in the bass. For example, listen to’ What Is And What Should Never Be’ (on Led Zeppelin II). The role of a bassist is hard to define. You can't play chords so you have a harmonic role; picking and timing notes. You'll suggest a melodic or harmonic pattern, but I seem to be changing anyway toward more of a lead style. The Alembic bass is doing it; I play differently on it. But I try to never forget my role as a bass player: to play the bass and not mess around too much up at the top all the time. You've got to have somebody down there, and that's the most important thing. The numbers must sound right, they must work right, they must be balanced.

You just picked a track from the second album, but there was something so gloriously unique about the first Zep record.

I know what people mean when they say the first Zeppelin album was the best. It was the first. I don't know what it was; we could never recreate those conditions it was recorded in. It was done in about thirty hours, recorded and mastered. There was a lot of energy in those days. But I liked (Physical Graffiti). I liked most of them actually. The funny thing was about the first album, when we got to about the third album (Led Zeppelin III) and started using acoustics everyone was saying, ‘Ahhh, Led Zeppelin has gone acoustic. They've changed their style.’ What everybody forgets is there were two acoustic numbers on the first album. Right? ‘Babe I'm Gonna Leave You’ and ‘Black Mountain Side’. The funny thing is people try to pigeon-hole you with all that heavy metal stuff. And if they ever listened to the fucking albums they'd realize it was never riff after riff after riff. It never was like that, you know? Peculiar... oh, well.

Do you practice?

In a word, no. I fool around on piano, but bass I never practice. Although again, with the Alembic, I'm beginning to feel, ‘Wouldn't it be nice to have it in the room?’ It really makes you want to play more, which is fantastic.

The band has always had a strange relationship with the press.

There is an amount of professionalism which must be retained. You can't go around canceling gigs and things like that. After Robert's accident there were rumors of, ‘Oh, they're afraid to come out’ and this and that which was really hard on us because we've always tried to be as professional as possible. And we take a pride in this. We've tried to turn up on time but it gets hard moving this amount of people. And that sort of thing hurts. Robert was in a wheelchair and we had to wait until he was healed. And then we were all ready to go and he got tonsillitis on this '77 tour. And he must have felt so bad. I tell you if this band ever drops from favor with the public, a load of people are going to come down on our asses so fucking hard. They're just waiting for us to drop. I don't know why, I honestly don't know. I always remember the first review of our first album in Rolling Stone and the bloke dismissed it out of hand. I don't even think he would listen to it and said as much. Then they dismissed us as hype.

Who do you listen to?

I don't. I used to listen to a lot of jazz bass players once, but jazz has changed so much now, it's hardly recognizable. I listened to a lot of tenor sax players: Sonny Rollins, John Coltrane and all those people. Bass players? Scott La Faro, who died. He used to be with (jazz pianist) Paul Chambers. Ray Brown and Charlie Mingus, of course. I'm not too keen on the lead bass style of some players. Paul McCartney, I've always respected; he puts the notes in the right place at the right time. He knows what he's about.

Who don't you listen to?

Ian [Anderson] is a pain in the ass. We toured with Jethro Dull [sic] once and I think he probably spoke three words to Jimmy or I at any one time. The band was nice but he was such a funny fucker. His music bores the pants off me, it's awful. Page came up with the greatest line about them. He had a title for a live album when Jethro was playing in Los Angeles: ‘Bore 'Em at The Forum’. (Ritchie) Blackmore is another guy I don't like. He was supposed to have been a big session man but he must have done demos because he was never a regular session man. I'm getting out all my pet hates.

There's nothing you'd like to do outside of Zeppelin in an instrumental context?

I always get the feeling I'd like to write a symphony. I like all music. I like classical music a lot. Ravel, Bach, of course, Mozart I could never stand, though to play it on the piano is great fun. If Bach had ever come across the bass guitar, he would have loved it. Rock and roll is the only music left where you can improvise. I don't really know what's happened to jazz; it has really disappointed me. I guess they started playing rock and roll.

So you're able to continually experiment in Zeppelin and expand your playing?

Yes, absolutely. I wouldn't be without Zeppelin for the world. What's it like being in Led Zeppelin? I don't know. It is a peculiar feeling; it intrigues me.

#john paul jones #jonesy #led zeppelin #robert plant #planty #jimmy page #pagey #john bonham #bonzo #60s #70s #70s rock #70s music #rock music #ourshadowstallerthanoursoul

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thislovintime · 10 months

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Photo 4 by Henry Diltz.

A look at some specific books mentioned by Peter over the years...

- How To Play the Five-String Banjo: "Pete Seeger’s book was very, very good. He’s a lively writer as well as a very good musician, a good teacher, good, very enthusiastic kind of all around person. So it was very good to learn from his book. And I recommend the book highly if anybody ever wanted to learn how to play folk-style five-string banjo, his is the book to learn from.” - Peter, Headquarters radio, 1989 (x)

- Naked Lunch: “In Melbourne last night Peter Tork said that Sydney airport Customs officers had seized from his bag the banned book ‘The Naked Lunch,’ by William Burroughs. A Customs officer had taken one look at the book and said, ‘I’ll have that. It’s banned here.’ […] ‘It is a good book,’ Tork said. 'I was just getting interested it. It’s sold out everywhere back home. I didn’t know it was banned here.’” - The Sydney Morning Herald, September 17, 1968 (x)

- Letters to a Young Poet: One question posed to Peter for the Ask Peter Tork column in 2008 was, “Do you think [becoming a writer is] worth a try, or do you suggest I 'keep my day job'?” From Peter's reply: “What writers I know of say is, if you want to be a writer, you’re probably not going to do very well. If you must write, then write! Do you see the difference? Rainer Marie Rilke wrote 'Letters to a Young Poet,' which I recommend on this point. (It’s a small book, and cheap at the bookstore, and free at your library.)”

-Why Do I Say Yes When I Need To Say No?: Escaping The Trap Of Temptation by Michelle McKinney Hammond: “Some years ago there was a movement afoot to separate assertiveness from aggressiveness, which I heartily endorse to this day. 'Why Do I Say Yes When I Mean No,' is, I believe the name of one book that tackles this subject.” - Peter, Ask Peter Tork, 2008

- Zen Mind, Beginner's Mind: “I recommend sitting in Zen meditation. The best book I know for that is Zen Mind, Beginner’s Mind, by Shunryu Suzuki. It’s all about watching your own mind rather than obeying it as tho’ it were the infallible voice of the truth.” - Peter, Ask Peter Tork, 2008

- The Sayings of Buddha: “The Sayings of Buddha (a small, inexpensive book you can find in almost any book store) always rests on the night-table beside my bed. I find that ancient wisdom, meditation and contemplation puts my mind in order and brings me great serenity. These things also broaden my scope of understanding.” - Peter, 16, September 1968

- Stranger in a Strange Land: “One of my favorite books now is Stranger in a Strange Land by Robert Heinlein. It’s about the orphan child of the first Martian explorers. He grows to twenty-one years of age before he’s discovered by the second expedition to Mars which rescues him. He comes back to Earth, having been raised by the Martians — really fascinating!" - Peter, Fave, March 1968

- More Than Human: “Another writer I dig is Theodore Sturgeon, one of the greatest science fiction writers alive today. He visited our set one day and we were all very thrilled. He’s a visionary and a mystic, really one of the giant talents of the day. I hope everybody reads him. He wrote a book called More Than Human and a lot of other novels and short stories.” - Peter, Fave, March 1968

Q: "You read a book a day. Of all the books you have read, which three are your favorites and why?" A: "No, I don’t read a book a day. I sometimes spend weeks on a book. Of all the books I’ve read, my favorites are 'The Book Of [Tao],' 'Stranger In A Strange Land' and oh, I don’t know, a whole mess of other books, because they turn me on—they get to me." - Monkee Spectacular, January 1968

- The Book of Tao: “Peter also reads The Book of the Tao… all about an ancient Chinese nature philosophy with some simple, beautiful and meaningful messages in it. He studies all kinds of different religions, too. Peter has now figured out his own religion, what seems closest to Truth for him. It’s the result of much studying, thinking and sorting out. Peter was also influenced by the Oriental philosophies Zen. ‘Zen Buddhism believes in the theory of sudden enlightenment or sudden awakening. This idea is Japanese. I believe that Truth can just come to you in a sudden flash and you’ll know where it’s all at, if you prepare yourself to receive it. ‘Zen also teaches that you should just go along and live your life as best you can from minute to minute, always living in the present. You’re already there and there’s nothing else. If you can make the most of each day, accomplish and learn all you can now, you’ll get so much more done in your lifetime than if you sit around waiting for tomorrow to come. Because when tomorrow gets here it’s just another today. You end up just waiting and putting things off and nothing ever gets done. So, try to make each minute count!’” - Fave, March 1968

- Upanishads: "[Peter] starts clowning around [on set], but after a bit he settles down and starts reading a book. He sees you looking and explains, ‘This is a book of some of the excerpts of the Upanishads. Actually, these are excerpts from ancient Hindu writings. I guess you could say that in a sense they are like the Bible, only they were written many centuries before the old testament.’ Peter stops speaking for a moment. ‘Am I boring you?’ he asks gently. After you assure him that he is not boring anyone, he continues, ‘Well, the Upanishads are simply but beautifully written. I mean, they are quite easy to understand. You can buy the Mentor pocket edition for about 50 cents —′ Just about that time, Peter becomes aware of 16’s camera focusing on him. He promptly becomes a clown again, laughing and joking and holding his book myopically up to his eyes. You realize that you have just had a glimpse of the real Peter Tork — the sensitive, sincere young man who hides behind the veneer of a silly-funny Monkee. And it makes you feel very warm that for a brief moment you have glimpsed Peter Tork’s secret self." - 16, February 1968

- Autobiography of a Yogi: As Henry Diltz recalled (in Laurel Canyon: A Place In Time), “I remember giving one to Peter on The Monkees set. I did a group shot of them sitting on a couch and he was reading the Yogananda book. I always felt so good about that.”

#Peter Tork #Tork quotes #long read #1967 #1968 #2008 #The Monkees #Monkees #bookworm Peter :)#if anyone's looking for additions to a reading list...#love his mind #more for the solid Tork advice files #Headquarters Radio #16 Magazine #Fave Magazine #Monkee Spectacular #Ask Peter Tork #The Sydney Morning Herald #can you queue it

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murderballadeer · 1 year

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#i think you all know how i voted #soapbox

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krispyweiss · 2 months

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youtube

Song Review: My Bluegrass Heart with Jerry Douglas - “Boulderdash” (Live, 2022)

Packing a 15-string punch with a triple-banjo attack and a guesting Dobro master Jerry Douglas, Béla Fleck’s My Bluegrass Heart wasn’t messing around when it rolled out “Boulderdash” at the 2022 Grey Fox Bluegrass festival.

An instrumental played with wildfire intensity, it features solos from fiddler Michael Cleveland, Douglas, Fleck, guitarist Bryan Sutton and others all packed into six minutes of lighting-fast sawing, sliding and picking.

And while such sonic shenanigans might be too much of a good thing in lesser hands, Fleck’s Bluegrass Heart pumps just enough oxygen to keep up the pace without risking palpitations. No balderdash in this “Boulderdash,” which was just released on video.

Grade card: My Bluegrass Heart with Jerry Douglas - “Boulderdash” (Live, 2022) - A

4/3/24

#Youtube #béla fleck #my bluegrass heart #jerry douglas #alison krauss and union station #michael cleveland #bryan sutton

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mysteryman-17 · 1 year

Video

The amazing art in this video was made by @bittybattybunny. She did an incredible job bringing the concept I had for this lil project to life; be sure to check out their other work!

You can listen to this track and its instrumental in high quality on my SoundCloud, as well as find the (updated) separate vocal and instrumental renders over on Google Drive -- in both WAV and OGG format! (For charters/modders: tempo starts off as 91, but switches to 110 at about 31.681 secs into the song. Time signature for the whole song is 4/4.) In addition, I have updated the YouTube mirror to reflect this new version! (Though the old one is still up there, just unlisted now.) The rest of the description (including my brief story idea for this concept) is underneath the Read More.

Story: Boyfriend rummages through Snatcher's things in his tree. The Subcon Minions notice and quickly try to get him to leave, figuring Snatcher will be mad. He is, but not enough to actively hunt down a nuisance that's already leaving. BF is walking out of Subcon Forest as heard in the very start of the song, the old stuff he rummaged through still fresh in his mind as he takes in the once-beautiful scenery. But all of a sudden (at 0:31 in the track,) he trips one of the forest's many traps and is dragged into Snatcher's contract-signing dimension. Snatcher pops up excitedly, looking forward to tormenting someone with the prospect of menial labor (followed by death!) ...But then he sees that it's BF again, and is basically like "bruh..." But hey, a soul's a soul, so he's just gonna get this over with. Or so he thinks.

So... yup, as you can tell, I've given this track (especially the chromatic) some MAJOR finetuning!! Given my new computer is in a functional state, I've been able to use some new things I've gotten (including the Kontakt Library Factory 2 that I've gotten with an actually legit copy of Kontakt 7!) This made working with ProjectSAM Swing a bit of a pain -- for obvious reasons, but I was able to work around the demo limitations well enough lol. Also can I just say: MusicBook is FUCKING AWESOME. The dobro and banjo I implemented here are both from there, and were free!!! In addition to those, I decided to make use of a royalty free drum loop that I got via a Humble Bundle, and also replaced the synth strings with a preset from the Mercury-6 VST from Cherry Audio. Not much to say that I don't already on the main post, so I hope you guys enjoy!!

#friday night funkin #fnf #fnf boyfriend #the boyfriend #a hat in time #ahit #ahit snatcher #the snatcher #fnf mod #friday night funkin mod #mod concept #music #video #i honestly would like to see this as a mod at some point tho #whether by my hand (however unlikely)#or by someone else making the concept a reality #i mostly just think it would be neat #especially since snatcher has never had a 'proper' fnf mod before

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mcneelamusic01 · 1 year

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Whatever style you may be searching for, be sure to check out McNeela Instruments' online banjo store if you want to get your hands on a high-quality banjo. We have a large selection of 4 String Banjo, resonator banjos with 16 frets, 17 frets, 19 frets, and 22 frets that are suited for musicians of all skill levels, from absolute beginners to experts.

#buy banjo #banjo prices #banjo #4 String Banjo

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girlwithfish · 8 months

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top 5 alex g songs and why

Snot - feel like this is such a quintessential alex g song.. i lovee the guitar in this song its super catchy and also really fun to play. the bassline is also great it complements the song so well. plus the drums go hard asf! love all the guitar layers and the long outro is perfect to meee. the lyrics are really unique too and i love how the backing guitar during the verses fits the song sm and the lyrics if that makes sense? like it sounds like jangly and light and unique. snot is just a perfectt alex g song imo. every part is so goodd i love the chorus and the outro is iconic. i feel so lucky to have heard it live too

Immunity - probably one of my favorites off GSTA if i had to choose one. love the hyperpop esque sound like he went all out w this song... i loveee the lyrics so much especially the Accident in kansas part and i love the vocal effects. the piano is so good one of my favorite alex g piano parts Ever... plus with the banjo and strings they make the song so unique too. like hyperpop-y and with a banjo and so big and loud! i love the production a lot. also really love the drums. the outro is fire i love a weird alex g outro.. plus i really like the music vid for immunity & i've seen this song 3x live and it has always been amazinggg :) and i got to see it live a few months ago with molly on violin it was the best thing ever! but yeah everything abt this song is perfect 2 me..

Hope - iconic alex g song too... a fan favorite + just one of his best songs ever imo. i love the strumming pattern its so beautiful and fits the song really well like the sense of urgency and sadness idk if that makes sense. love the production of this song 2 (ik i say that 4 every song... sorry) like the synth-y sounds in the background are soo beautiful and i think the lyrics in this song are some of his best. just so raw and sad and tragic and personal :( one of my favorite lines is "I woke in the middle of the night / he spoke with his eyes half closed / can you get me something else to eat? / got a hole in my chest / i can't take it anymore / put my pillow to the desk / let me rest" like its so sad and :( i love his vocals in this song too and just everything about it. ive seen it like 4x live i think and its always amazing!!! love the little interlude instrumental part around 1:26 it fits so well in the whole sound of House of sugar w the synths and all the guitar parts are beautiful and the last verse is soo good too. just everything about this song....

Sportstar - also one of my other favorite alex g songs w a fire piano part! the bassline in this song is one of my favorite basslines of his too. i got to see this live twice, once the first time i ever saw alex g and the last time i saw him (with molly on violin!!! beautiful). im obsessed w the piano in this song the chords r sooo pretty paired w the bassline and im a huge fan of weird alex g vocals so i think it all fits together perfectly. plus the lyrics in this song are some of my favorites as well its so true and beautiful... also this song is one of his most aries venus songs ever ngl... really love the vocals in this song when hes humming and shit too :) the piano is soo good around 1:25 hes so good at piano melodies!!! the repetition of "I play how i wanna play / i say what i wanna say" is sooo good then into the heavy guitar part w the bassline.. and the last two verses are <3 the song is so heartbreaking and fire and aries venus and im obsessed. i think its so unique and pretty and probably one of my favorites off Rocket. also has big immunity vibes which is cool when he released immunity bc it had a lot of similarities in sound/production to sportstar!! i love

End Song - when this song dropped like unofficially but was on youtube after the movie came out i was not a huge fan of it for some reason but i was sooo debased tbh... like i did not appreciate it enough or see how beautiful the instrumentals are and the simplistic but like very deliberate sounding guitar chords in the verses i just lovee now. the guitar riff is simple but pretty and beautiful and fits the desolate vibe of the song paired w the really haunting and poetic lyrics i Luvvvv. i also really love playing this song on guitar its so fun. esp the outro i definitely was sleeping on it for soo long and didnt even appreciate it but when the song finally clicked for me i was obsessed! such a winter song imo. and its beautiful the build up to the outro w all the instruments and the synths and when the chords change into the outro part around 1:57 its just perfect. the outro is definitely one of my favorite outros of his i love how u can hear so much in it and theres like more parts added to it w synths and they all make the outro feel so dynamic and pretty! one of my fav songs to listen to w headphones too u can hear so much its so atmospheric.. so perfect tbh

Honorary mentions

Get happy - one of my favorite songs off Winner which is also one of my favorite underrated albums of his. i hadnt listened to this song in a while and recently i heard it in the car and i think its perfect. i really love the production its so old alex g.. the chord prog is awesome and i reallyyy love the drums and how like bleak and sad and youthful the song sounds it just reminds me of being a depressed teenager or smth and sounds nostalgic and hopeless but like beautiful? i lovee the electric guitar and the drums and the lyrics and the chorus is sooo good its perfect. i would die if there was ever a video of him playing this that resurfaced online bc i dont think hes ever played it live/theres no record :(((( one of my favorite songs ever and i love the last verse too.

Change - i wish i could include this wahhh lol its def one of my favorite alex g songs too the chords are sooo pretty and im obsessed w the backing guitars and its so nostalgic and pretty and sad like :) girl .

ok i cant include more but i had to include get happy & change as honorary mentions lol.. but this list was so hard to make.. also in no particular order either. this was fun to answer ty :)

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kimiehashobbies · 3 months

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Hey Ladybugs,

Hobby: Banjo Monday Musings #1

So I am learning to play banjo. Im inconsistent as hell with it. Steve Martin (im a huge fan) once said "you cant be sad playing a banjo" or something like that. He's right. Its such a happy little sound.

I want to be fast already so I start being impatient with myself. I want to be good already. I'll never give up. I just would love to be good at everything I try. I have a goal of making 4 songs. Thats pretty much the goal for the year. I did take lessons for a few months but then finances changed and could no longer afford it.

I'll always be very thankful and appreciative to my 1st banjo instructor, Brent. He could play any instrument and taught pretty much every instrument. My 2nd instructor doesnt know what she's doing at all! My 2nd instructor is....ME, so i can talk about her. Watching videos of learning "boil the cabbage down" is definitely different than Brent teaching me "Foggy Mountain Breakdown" tiny bit by bit on Thursdays. Its up to me to boil that damn cabbage down so that i can duel with the banjos like every banjo player eventually has to do.

Teaching myself music theory and practicing has proven to be challenging for me. I dont have a natural knack at all for reading music. I want to start dedicating an equal hour to both a piece. I think I'll just do it 4 times a week. Today after my workout when im showered and calm. Gonna hold myself accountable, Mon-Thurs are my banjo days now. Plucking my 5-string 4 days a week. Manifesting consistency for year 33.

Ladybugs let me know what instrument you play or want to learn. If its banjo as well, even better! Its not common or cool but it calls to me.

🐞Kimie

#banjo player #banjo #learning #music theory #ladybugs #5strings

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heartsoulrocknroll · 3 months

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Piano Man Ranked

This was so hard for me, because I love every song on this album. These rankings are based primarily on the album versions, but if I was unsure, the position was ultimately determined by my favorite live version. I firmly believe that you can't truly appreciate how great the songs on this album are without hearing them played live by the 1976-1982 Billy Joel band.

1) The Ballad of Billy the Kid

I am so obsessed with this song. I think it's one of the greatest songs Billy has ever written, from the excellent instrumentation and arrangement to the fanastic storytelling lyrics. I love the album recording. The clip-clop of the horse hooves. The campfire harmonica. But the back and forth between the band (especially when the strings come in) and those ICONIC piano riffs does something to my brain. I freak out every time I hear it even though I've heard it repeatedly for 12 years. And the piano work throughout the entire song is just phenomenal. The live versions obviously don't have the strings, but the post-1975 live versions with the core Billy Joel band have a whole different energy that make the strings unnecessary. I have to mention the 1976 University of Connecticut live performance of this song, because that particular combination of Billy's vocals, Billy's kickass piano playing, and the band's pure energy literally makes me the audibly-yellin', hand-wavin', object-throwin' kind of insane.

2) Somewhere Along the Line

This song reminds me a bit of James Taylor in parts, but then those big backing vocals and piano riffs come in and take the song in another direction. The melody is great, the lyrics are some of the best on the album, and Billy just goes nuts on the piano, especially on the break after the third verse, during the fourth verse, and on the break that closes the song. I love the album recording, but this is another song that really comes to life in the live setting with the slightly higher tempo, the more prominent guitar riffs, Liberty on the drums, and Billy singing and playing like the world-class singer and piano player that he is.

3) Worse Comes to Worst

This song rocks so hard and blends so many musical styles. The signature guitar riff is super funky. The pedal steel guitar makes another appearance for more country undertones. The background vocals provide a gospel flavor, while the steel drums come in later on for a bit of a Caribbean feel. But even still, this remains distinctly a rock 'n' roll song. The album version is great for the aforementioned reasons, but the live versions rock so much harder. I love the 1977 CW Post live version more than life itself. I know I never shut up about it, but my god, Liberty's drumming adds so much drive to these early songs, and Billy sings the hell out of this song live.

4) Travelin' Prayer

I love absolutely everything about this song. The brushes on the drums, the bass, the opening piano, the banjo, the fiddle, the lyrics, Billy's vocal, the psychotic tempo. This is just a fantastic country/bluegrass song that takes what is great about those genres and improves it with the incorporation of Billy's brilliant piano breaks, especially the piano solo during the first instrumental break, which just rocks. This song doesn't have as strong of a country feel without the banjo and fiddle, but the live performances with Liberty's energetic drums, Richie's sax additions, Doug's driving bass, and Billy's piano improvs are incredible in an entirely different way.

5) Ain't No Crime

The soulful, gospelly vibes of this song really do it for me. I LOVE the use of the organ, and the piano riffs slap so hard it ain't funny. This is another song that needs to be heard live to be truly appreciated, with Liberty on the drums and Richie adding some sax. Billy goes crazy on the piano and does such a fantastic, soulful vocal on this song live.

6) Captain Jack

This is just an epic song. Billy's piano parts in the intro and the verses are beautifully done. The combination of Billy's organ and that legendary guitar riff in the chorus is so dramatic and really gives the song its epic feel. The lyrics are a great commentary on how people can have everything and still be overcome by the aimlessness and hopelessness of life. I like the album version, but this is another song that really takes on a whole new life in the live setting with Billy improvising on the piano and singing so incredibly well, while Liberty adds the dramatic opening cymbals and the ridiculous driving drum transitions from the third and fourth verses into the third and fourth choruses. 😭😭

7) Piano Man

No matter how many times I hear this song, I will never stop loving it. It's popular for a reason: it's great. That iconic opening piano riff gets me every time. The harmonica parts are great. The piano break after the third verse rocks on the album, and rocks even harder live. These are some of the best lyrics on the album. They are excellent, immersive, storytelling lyrics with a great rhyme scheme.

8) If I Only Had the Words (To Tell You)

This is a gorgeous melody with a distinctly beautiful opening piano riff, more beautiful piano work throughout the song, and some nice strings toward the end. This is also one of those songs that really makes me go, "Damn, that guy can sing." I am a freak about singing, and there is a live version of this (supposedly from Carnegie Hall in 1974) in which Billy gives a vocal performance that brings me to tears if I focus on it too hard. Billy may not like the sound of his own voice, but I'd give anything to sing like that.

9) You're My Home

This is a great, country-sounding song. It's one of those classic, beautiful Billy Joel melodies. The album version isn't very piano-heavy, but there are a few nice piano bits in there. And the instrumentation is great nonethless, from the finger picking on the acoustic guitar to the pedal steel guitar. Billy's vocal here is really beautiful as well.

10) Stop in Nevada

This is a beautiful song with a great melody and a great build from the quiet piano and pedal steel in the verses to the big, full choruses with the backing choir and the strings

#billy joel #piano man #personal

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