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E-minor7

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Posts posted by E-minor7


  1. Three choices that meant a lot to me :

     

    Jethro Tull - 1976, Too Old to Rock'n'Roll : Too Young to Die !, Salamander - Genius Ian Anderson is an excellent acoustic guitarist and this one comes over the hills like an Anglo Saxon, Celtic, whatever, whirlwind. Impressive in its rage through different zones, the ever rising up-tempo attack moves on. http://www.youtube.com/watch?v=a0WCurVatJk

     

    Crosby Stills Nash - 1969, Guinnevere - Crosby dives in the exact opposite direction with this classic 'furniture with no legs' paisley maze hippie hymn. It's a difficult stream to swim, but the guys manage like a reborn three-headed Aquarius. Mesmerizing. (Can't find a link to the original version.)

     

    Fab-Four-1969, Here Comes the Sun - George takes his J-200 and literally makes the track shine. There might be piccolo-flutes, lightweight drums, virtuoso bass and beaming synths, but it's the acoustic - with capo on 7'th fret i think - that brings on the rays of sun. As you all know the original so well, I link up the recent Paul Simon, Crosby/Nash version. Also a huge moment, , , if you ask E-minor7. http://www.youtube.com/watch?v=8XJtCQhVAmo


  2. Four guitars under the sun and moon on some remote island :

     

    1 would be my D-35. It's my mother guitar, my faithful friend and servant, the backbone of everything and reason all other experiments can take place.

     

    2 would be my new self-drawn JJ 12-fret. We're getting to know eachother and I couldn't let it down at this point in time.

     

    3 would be my J-45 black nut Standard. It's developing every week and will be a very satifying guitar in a couple of years.

     

    4 would be a choice between one of the 2 Sq. Sh. SJ's and the 1964 C&W I won on the Bay just 20 hours ago (wonder what it'll be like. . .) I'd need that sensitive, warm, vintage sound in the sunset hour.

     

    Besides that I'd bring a pair of capos and a pocketful of .60 picks, a box of different strings and an iron pot so I could boil those strings once in a while to make a good acoustic soup.

    (Ouuuh, , , and if you think the sleeping bag is full of pillows, you're wrong - It's an Ibanez 12-string)


  3. Lily of the West in Dylans version is fantastic. More than enjoyed it since the 70'ties. It's as if the seriousness of the scene forces the players to get ahead of the beat in some almost desperate escape. And then the daring mix between western movie, gospel girls and spinet. It's Bob at his best - tremendous vocals.

     

    The other 2 I don't know, , , , yet -


  4. This is a very good topic which deserves more attention. Never the less I'm a bit scared it's simply to big for anyone to really unfold about it. The statements would end up like smaller short-stories if these experienced - let's face it - hardcore 'forumers' first began. A lot of common unison talk would be aired and shared, but I'm sure there'd come informative differences growing from the underwood after a while.

    Well well - it hasn't happened, so. . . .

     

    The video-guy, by the way, tries his best and might get home in the end, but his mic is just too unprecise. One thing you'd better check before stepping up on the fruitcase to speak of acoustics is, , , ,

    YOUR SOUND.

    No offence -


  5. As any big artist, Neil Young has created an independent position for himself that gives the possibility to both caress and curse what he sees around him. He is a jester, a lover, a fighter - an important counterweight to the established main-train (which every 'healthy' culture needs and always needed), still couldn't be counted as a 'dangerous' revolutionary at all.

     

    Rather as a creator who uses all keys on the board, always did, which is one of the reasons he so special. He remains a huge force or phenomenon on the planet and his influence is titanic. No need to be scared of the man, though – much worse if nobody like him was around, that would be a sign to consider.

     

    I've been a fan since the mid-70'ties and though disagreeing with several turns he took, the journey has been exiting and tremendous, emotional, sometimes tough. I've been playing his songs, listening and learning. I have got to know my own register of feelings as a teenager and seen the 4 elements reflected in the different facets of his work. Continue to follow the route and still get my kicks now and again, last during a concert in a smaller venue a couple of years ago.

     

    Let me share this story with you : Back in 1976, Young and Crazy Horse were in town for the first time and BTW played the same stage as the one mentioned above. Neil had been here before with CSN&Y, but this was the Zuma tour and the lads were in terrific shape. A very juvenile version of me together with 10 classmates attended the half acoustic, half electric show with expectations sugar mountain high.Of course we were blown away when the gig was over, but never the less me and one of the guys decided to get behind the concert-hall block to see our stars leave the building. Yep, after a while they came out one by one by one. Talbot*, Molina, Sampedro, , , , and Young in some furry Afghan coat. I steered towards him as a magnet, thanked for the music and among other things, asked about a CSN&Y reunion (the only thing I recall). "It's up to the others," he said and slipped through the door of the waiting limousine. The rest of the band was still on pavement, probably in small conversations, giving autographs and answers - there were only around 10 or 12 people at the scene. My eyes followed Neil inside the cabin where he had placed himself on the right back seat. We spoke a bit further, when suddenly in a split-second, he changed his mind and in a weird kind of acrobatic move threw himself over the front seat to land in the strangest position half on the floor next to the drivers place (certainly no trace of recent spine-problems here). He got up as a relaxed Crazy Horse entered the enormous car. It had the windows down and no-one was in a hurry - (it was after all the 70'ties) so we chatted on through the open gabs. A couple of minutes later they took off leaving tiny E-minor7 and good friend Lars on the sidewalk absolutely stunned. It had been the most perfect ending of the most perfect concert and we were like covered with wonder-dust, when suddenly Lars felt the upper wrangler-jacket chest pocket emty, his purse gone. Confused and troubled 'bout having to deal with a nail of bad luck in midst of such shimmering situation, we stayed where we were, not drunk nor stoned - just intoxicated by the whole thing. Then - believe it or not - right before our eyes the dark limo came around the opposite corner some 25 meters away. It slowly drove by as someone handed the purse from the still open window, speeded up and was gone.

     

    Ladies and gentlemen : This was my holy moment as a rock-lovin youngster tale, and I'll never forget it. Guess the purse had dropped from the pocket when L. leaned his torso inside the cabin, can't imagine anything else. But sometimes I picture the conversation inside the car. There must have been a little discussion whether to drive back or not - what to do with this lump of worthless leather. Though probably on their way to some tour party-thing (they stayed at the biggest hotel in town, which I know as the hotel sticker is seen on the front of the Decade-album, released the following year), in a heavenly state of mind, these pirates chose to return. Ouh YES they did !

     

    Besides grand piano and harps, I remember Young playing his brownburst J-200, the D-28, the D-45, the black Les Paul and the White Falcon that night - maybe even a banjo.

    Let's hope these instruments have their place in his studio facility and thus still are alive.

     

    *wearing an extraordinary ordinary and to be frank for the times totally uncool blue nylon-coat - (love it)


  6. Glad you liked, I should be on commission!

     

    You should - Awkward Annie, Underneath The Stars and Sleepless were the titles and they ought to cover the 2 songs above.

     

    Ain't got no fireplace here, I'll put on these records instead.

     

     


  7. Hey E-minor7, Not to speak for TheG, But his SJ is the 'Woody Guthrie SJ'...A 40's Banner headstock reissue, that apparently had the unbound neck.

    I have been gassing over this one....

    http://cgi.ebay.com/...e=STRK:MEWAX:IT

    Me thinks this is a good price for this, especially with the Fishman Matrix installed.

    Damn it, if someone would by my '80 Les Paul, I could swing it...Ha!

     

    Ouuh yes, forgot that one, thank you for reminding. Maybe I tend to think one way or the other, but of course it takes all sorts of all sorts to make a (Gibson)world. GoodGasLuck. . .

     

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