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Dmitri from the band OFF!
I got to hang out with Keith Morris and the band after the show, and gave Keith something I'd been holding on to since 1986
Buddy Miles - Bicentennial Gathering Of The Tribes
Trackliste:
- Now's The Time (You've Got To Be Real) - 3:43
- Where You Gonna Run To Lady - 3:45
- Inflation - 4:41
- I've Got To Be Me - 4:35
- Grecian Lady - 3:27
- Won't You Be My Friend - 2:44
- Searchin' (For Love) - 3:24
- Reuben "The Hurricane" - 3:23
- Wake Me Shake Me - 4:38
Backing Vocals – Buddy Miles (tracks: A3, B2, B3, B5), Jerry Stevens (tracks: A3, B2, B3, B5), Wanda Watkins (tracks: A3, B2, B3, B5)
Bass – Ben Schultz (tracks: B1), Buddy Miles (tracks: A1, A2, A4, B), Ron Perry (tracks: A3)
Brass – Paul Cacia (tracks: A3, A4)
Clavinet – Buddy Miles (tracks: B1)
Co-producer – Ben Schultz, Kelly Kotera
Drums – Bobby Berge (tracks: A1 to A3, B2, B5), Buddy Miles (tracks: A4, B1, B3, B4)
Electric Piano [Fender Rhodes] – Ben Schultz (tracks: A1, A2, B2, B3), Buddy Miles (tracks: A4)
Guitar – Ben Schultz (tracks: A1, A2, A4, B1, B3 to B5), Boyd Albritton (tracks: A3)
Guitar [Slide] – Dickie Betts* (tracks: B3)
Keyboards – Don Beck (2) (tracks: A3)
Organ [Hammond] – Ben Schultz (tracks: B5), Buddy Miles (tracks: A1, A4, B3), John Maller (tracks: A2)
Percussion – Ben Schultz (tracks: B1, B2), Bobby Berge (tracks: B1), Buddy Miles (tracks: B1)
Producer, Written-By – Buddy Miles
Reeds – Danny Hull (tracks: A3, A4)
Rhythm Guitar – Buddy Miles (tracks: A2, B2, B5)
Sitar – Ben Schultz (tracks: B1)
Synthesizer [Univox String] – Ben Schultz (tracks: B2, B3)
Tenor Saxophone – Danny Hull (tracks: A2, B2), Steve Lawrence (4) (tracks: A2, B2)
Trombone – Ken Walther* (tracks: A2, B2)
Trumpet – Tom Bray* (tracks: A2, B2)
Trumpet [Lead], Flugelhorn – Paul Cacia (tracks: A2, B2)
Vocals – Buddy Miles (tracks: A1 to A3, B1 to B3, B5)
Written-By – Ben Schultz (tracks: A2, B1, B3), Paul Cacia (tracks: B2)
Recorded at Record Plant Studio
sleeve design: David Alexander
Label: Casablanca Records / 1976
ex Vinyl-Collection MTP
Univox Super-Fuzz and Ibanez Standard Fuzz.
The Super-Fuzz wins the match, but the Standard Fuzz does octave-up better than the Super-Fuzz.
Still, they both kill on contact.
Lots of them. In my attic. Belonging to Katy and me. I just sold 2 as well.
L-R: 1970s weird 12-string acoustic, 1970s Commodore ES335 copy, 1970s Epiphone ET275 (or 278) Crestwood, 1973 Fender Telecaster Deluxe, 1970s Antoria SG with John Birch pickup, 1990-ish Squier Telecaster with 1973 Fender WRHB pickup in the neck and a HD90 in the bridge, 1994-ish Fender Stratocaster (was a Fotoflame, now refinished Ron Asheton/Hendrix at Monterey style), 1970s Univox Hi-Flier, 1970s Epiphone ET276 (or 275) Crestwood, 1965 Harmony H14 Bobkat, 1994 Fender Jaguar with some cruddy humbucker installed.
We like the 1970s in our house.
This is how I lived when I was sixteen. Nothing has really changed, except I'm about 14 years older. With the exception of Lego airplanes, I'm still into all the same shit. And I think that's neat.
Just about every brand of guitar effect pedal has been through my hands in the 25 years I have been doing this. Vintage Guitar effect pedals. Classic EFFECTORS! MXR VOX EH Mu-tron Tycobrahe guild Foxx Jax Colorsound Dallas-Arbiter Roland Boss Ibanez Maestro Univox Mosrite Ludwig Mica
Zvex SHO clone - EA Tremolo - Balls Drive (Univox variant by thetonyballs)
Zvex Box of Rock copy - Zvex Furry Elephant variant (choose between Mastotron without push/pull, or Woolly Mammoth with subswitch)
1960s-1970s vintage VOX wahs, Cry Baby, Tone Bender, Dallas Arbiter Fuzz Face and other guitar effect pedals.
L-R Harmony Bobkat, Univox Hi Flier Phase III, Gordon Smith GS1, Antoria SG, Silvertone Colorkat (covered in velvet), Univox Hi Flier Phase III, Acoustic Black Widow (Mosrite built), Mosrite Brass Rail, Univox Hi Flier Phase III, mystery MIJ guitar - possibly a Princess, Squier Silver Series Tele, Telecaster Deluxe, MIJ Strat, MIJ Jaguar
Made in Japan in the late 70s, Westbury was rare brand here in the UK, unlike the later Westone brand, which was related. This Gibson inspired guitar, fitted with Dimarzio pickups (and a coil tap) as standard, plays and sounds like a dream.
This is the second time that I have owned this model. The first one was traded in for a 1970s Gibson SG in the late 80s (which I still own). When I was offered this one, I jumped it the chance.
It it really is a very good guitar!
Toronto
"Everybody Hurts' is a song by R.E.M., originally released on the band's 1992 album Automatic for the People and was also released as a single in 1993. It peaked at No. 29 on the Billboard Hot 100, No. 7 on the UK Singles Chart and No. 3 on the French Singles Chart.
Much of the song was written by drummer Bill Berry, although as R.E.M. shares songwriting credits among its members, it is unknown how much he actually wrote. Berry did not drum on the song—a Univox drum machine took his place—but he was responsible for the sampling of the drum pattern on the track. The string arrangement was written by Led Zeppelin bassist John Paul Jones.
Guitarist Peter Buck commented on the making of the track saying 'Everybody Hurts' is similar (to 'Man on the Moon'). Bill brought it in, and it was a one-minute long country-and-western song. It didn't have a chorus or a bridge. It had the verse . . . it kind of went around and around, and he was strumming it. We went through about four different ideas and how to approach it and eventually came to that Stax, Otis Redding, 'Pain in My Heart' kind of vibe. I'm not sure if Michael would have copped that reference, but to a lot of our fans it was a Staxxy-type thing. It took us forever to figure out the arrangement and who was going to play what, and then Bill ended up not playing on the original track. It was me and Mike and a drum machine. And then we all overdubbed.
In the liner notes of the album In Time: The Best of R.E.M. 1988–2003, Buck writes that 'the reason the lyrics are so atypically straightforward is because it was aimed at teenagers", and 'I've never watched Buffy the Vampire Slayer, but the idea that high school is a portal to hell seems pretty realistic to me.' Incidentally, the song was used in the 1992 film of the same name that preceded the show.
In 2005, Buck told the BBC: 'If you're consciously writing for someone who hasn't been to college, or is pretty young, it might be nice to be very direct. In that regard, it's tended to work for people of a lot of ages.' In the video for the song, directed by Jake Scott and filmed along I-10 near the Fredericksburg Road bridge in San Antonio, Texas, the band is stuck in a traffic jam. It shows the people in other cars and subtitles of their thoughts appear on screen. At the end, all the people leave their cars and walk instead; then they vanish. The video was heavily inspired by the traffic jam in the opening dream sequence of Fellini's 8½.
In 1995, British emotional support listening service The Samaritans, in response to the high suicide rate but low crisis service take-up amongst young men, launched a UK press advertising campaign consisting solely of the lyrics to 'Everybody Hurts' and the charity's hotline number.
The song was placed on R.E.M.'s Warner Brothers 'best of' album In Time: The Best of R.E.M. 1988–2003 in 2003. It was one of four songs from Automatic for the People to make the compilation, more than from any other album.
In a 2006 poll for a Five program Britain's Favourite Break-up Songs, 'Everybody Hurts' was voted 4th.
In October 2007, MuchMoreMusic placed "Everybody Hurts" as number 5 of the Top 40 Most Memorable Music Videos on 'Listed'.
The song is included on R.E.M. Live.
The song is No. 1 on the PRS for Music list of songs which make real men cry." en.wikipedia.org/wiki/Everybody_Hurts
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This is one of the most over looked keys to getting that early Brian May tone. This was later replaced by the Boss Chorus Ensemble.
My guitar stuff as of October 2008. My idea was to have a clearout but I keep amassing more almost by accident.
L-R: Martin 000-15A, 1989/90 Squier Telecaster with Fender Wide Range pickup, 1973/4 Fender Telecaster Deluxe, 1977ish Univox Hi-Flier Phase III, 1960-something Hound Dog Taylor-style 4 pickup broom from hell, mid-70s 'lawsuit' Antoria SG with John Birch pickup, 1993 ish Fender Jaguar MIJ with stupid humbucker at the bridge, early 70s Commodore ES335 copy, the 'electrabanjo' - a 4 string Harmony banjo on loan from Phil that I added a weird "wah-wah" microphone to, Musima acoustic with bridge jacked up with 2P pieces for slide. In the front are a nice mahogany Ukulele together with a Flying V uke.
Here is a board we finished this week for my good friend John Z. This is one of the biggest boards we have done. The power supply and interface alone that Martin built took two days to make. Fifteen hours, sixty feet of cable and over sixty Switchcraft ends later-----Boardzilla was born. The sounds that this board gets are unlike anything I have heard. Also there are some of the most rare and expensive pedals out there on it.
The signal path is as follows: Custom interface (with built in buffer, power for three pedals, effects loop, Tube reverb loop, footswitch thru, tuner send)---Hi-watt wah--Ross compressor--Whammy--Boss slow gear--Maestro Filter factory--Mutron Octave divider--Octavia--Prescription Univibe---MXR Phase 90--mystery pedal--Univox Super Fuzz--DOD 250--ADA Flanger--MXR Chorus--Boss Vibrato--BFD Tremelo--Interface.
All the pedals except the Wah are in Loop Master strips. The effect loop send of the amp goes into the interface then to the Volume pedal then to the input of the Xotic X-blender out to a Echoplex EP-4. The vintage Fender Reverb Unit plugs into the REVERB send of the interface into the Xotic X-Blender send and return(blending the dry and the reverb out to the effects loop return. John is using a Diamond Phantom head into a 4x12 with G12H 30's.
If you would like to hear this board in action be sure to stop by the Baked Potato on Monday. John is sure to get some amazing tones and well as throwin down some incredible playing.
I have to rest now.
Kurt Donald Cobain
Apelido:Kurt Cobain
Data de nascimento:20 de Fevereiro de 1967
Origem:Aberdeen, Washington
País: Estados Unidos
Data de morte:5 de Abril de 1994 (27 anos)
Gêneros:Rock alternativo, grunge
Ocupação:Músico, compositor
Instrumentos:Vocal, guitarra
Modelos de instrumentos: Fender Stratocaster
Fender Mustang
Fender Jaguar
Fender Jag-Stang
Univox Hi-Flyer
Martin D-18E
Período em atividade:1985 – 1994
Gravadoras:Sub Pop, DGC/Geffen
Afiliações:Nirvana, Fecal Matter