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In the pink tribute band it was Dont let me get me, where I wrote a splendid guitar solo complete with bit finale one handed fancy descending run to crescendo close. Super fun.
Christ my wrist hurt after those two.
Brick used to start with me doing some noodling stuff over a D drone thing that I had set up on the Helix where the singer would introduce the band etc with just the drone going - and then introduced me last, I gave it welly for a couple of bars with hints of the melody of Brick and then the singer would come in with that Dm7 riff thing - real cheese!! but worked well with the lights and dry ice stuff we used on the bigger gigs.
Who's Crying Now I loved stretching out over as I got to invade everyone's ears with my complete repertoire of 80's cliches!!
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
At those testing moments when someone discovers you play guitar and thrusts one in your hands I play 50 ways to leave your lover.
We do Happiest days of our lifes then go into Brick P2, like the album. Regular crowd are used to it but there's been some funny moments in new venues then our bass player goes full on Roger Waters "Stand still laddie !"
I remember a guy telling me how I seemed to have got the riff to "Nutbush City Limits" spot on, I said most folk play it wrong 'cos they don't realise it's in open G, like Brown Sugar and Honky Tonk Women, but I only knew because I had read an interview with Ike Turner in a music magazine where someone asked him about the rumour that Marc Bolan had played the famous intro... He laughed of course, it is/was nonsense but he did let on how it should be played. We used to do a quiet section where we did Joni Mitchell's "Little Green" and it took me ages to figure out that is played in open G as well.
The famous groundbreaking solo in the old Carpenters hit "Goodbye to Love" was another one. I never felt as though I quite got it, and it was only recently I discovered that the sadly departed Tony Peluso only played in open F, which apparently makes it a lot easier (I haven't tried it..). Of course open F is the same as open G so maybe I should have just tuned the guitar to F and capo'd it.
Anyhow, fast forward to the present day and with Youtube there's hardly any secrets any more, and TBH I think it's a shame. I miss those days when even if you weren't a great guitar player, and I'm not, you could still have a few tricks up your sleeve that others didn't have just by doing some research.
As far as "SITS" goes I didn't think that was a secret anymore. I thought it was fairly well known that Norman used a Telecaster with a custom built unique fuzz box - analogue obviously, and actually part of the guitar - to get the distinctive sound. What isn't widely known is that the Tele was played on the neck pickup. I had a cheap Tele at the time and as soon as I switched it onto the neck pickup I could see the way forward. IIRC Norman did give me a few tips to replicate the way the fuzz box worked, and I wished I had hung on top a copy of the email but it's long lost.
A steady kick all the way through to provide an almost trance like pulse, the guitars build, harmonies, big washy cymbals.
We're an acoustic Americana style band with forays into folk/folk-rock
*An Official Foo-Approved guitarist since Sept 2023.
While I was working in Cyprus I stood in for a 3 piece band who's guitarist had gone back to the UK. They had a Xmas gig they really wanted to honour so persuaded me to stand in.
I'd never played in front of people before and when we were setting up I noticed there were quite a lot of people ....300 to be exact!
I got through the first song and then just before the next song I looked out, saw all these people sat down watching me all suited and booted and I just froze.
Couldn't play a note for the next few songs and in a 3 piece there's nowhere to hide so it was really turning sour.
It felt like I was standing in a pool of my own sweat and I was getting waves of nausea travelling up and down my body. Totally miserable experience.
Anyhoo, the rest of the band launched into Hotel California with me still glued to the spot but when it got to the solo I finally kicked in. I'd learnt it as best I could note perfect and muscle memory got me through. The audience gave a massive ( probably ironic ) cheer and from then on I was fine. It didn't exactly save the gig but we got paid.
I was having a piss afterward and a bloke in the next urinal turned round to me with a proper withering look and said " you were fucking shit mate " and walked off
Bohemian Rhapsody
Ordinary World
Where’s Your Head At
Jump
Plus I love playing:
Juice / For the Love of God
Satch Boogie
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Let's Dance (Bowie)
Dancing in the Dark
But since I found I had a weirdly strong falsetto, all the above have been eclipsed by my rendition of Tragedy by the Bee Gees. The best version of that was a May 4th Star Wars themed gig when I was dressed as Yoda, and I was able to seamlessly combine my best Yoda voice and extensive quote repertoire with Barry Gibb's signature vocal stylings.
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