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E-minor7

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Posts posted by E-minor7


  1. "Jackson ended up making a joke about it, something to the effect of how he would never get upset over messing up one of his guitars. Everyone else new better. Fortunately, his guitar appeared to be okay as well."

    So clumsy things happen to even J. Browne, what a relief to know. To laugh oneself out of it is the way to go, , , on stage. And Jackson can afford it. I saw him solo from the first row a couple of years ago. What a collection of acoustics - think he had 15 or so with him up there. (Many of them slope shouldered Gibsons by the way).

     

    I learned Jamaica Say You Will this spring. Always loved the Byrds version and never knew it was Brownes work before finding him doin' it on piano on the Tube (1972). It's just so good. The peek occuring on 2:14 when he reaches the 'hiding from this world together ~ next thing I knew' line. It makes me cry - He's in the top of the tops.


  2. Experienced the same yesterday, damn it. Had to close the upper window for the rising autumn winds and reached out without seeing my shirt catching the head of my J-45. Baaang ! straight down on the face it went. Horrified I picked it up - no visuel damage, then checked the neck. Nothing, , , but when playing I kept feeling some spooky difference the rest of the day. During today learned there was nothing to it. Things like that never happen to me and then suddenly uuuagggh. Most accidents unfold at home, they say. How lucky we were.


  3. Must have grown up in a hammock between a rosewood and a tall spruce tree, since all the first guitars I played were from these two*. Not untill much, much later (only last year) circumstances of the journey shifted when a different path presented itself. 'Forest of Mahogany' said the sign and what could I do. Had to follow the path and see what happened. Naturally a variety of Gibsons were met : J-45's of all ages, nice old SJ's and floks of multicoloured H-birds, to mention a few. Also a Taylor 510 Lemon Grove and even a Martin appeared on the way. And yes, they were - as rumour told - mellower, sweeter, slightly quieter, more tender and frail (I even hear hog-wood make tiny bubbles !). The change was good. It lifted and inspired. Challenged my ears and fingertips. Still the general situation of mine demanded a major choice. Having started a co-work with a local luthier in December, and drawn him the lines of an acoustic 6-string, woods now had to be decided. He had been creating in both hog and rose and showed me examples of his former results. I tried, , , and tried again - then went for the latter. Don't know, but something in me didn't dare go hog, neither tempting ceder. So there I was - back in the hammock swinging my way through a patient summer. Should be said I played Gibsons every single day while waiting. In fact I still wait, but my new homedrawn should be ready this week. Wiiild, what will it sound like, we don't know. Haven't got a clue, but it's based on a Mart. 12-fret so maybe. . . .

    Now that you ask wilyfool, check out the brazilian - others are highly wellcome too (the chalk lines are factory standards).

     

    And then a quiz : Can anybody tell the three albums seen in the sofa-landscape ???

     

    * okay, apart from those 2 late70'ties Norlins -

    post-15602-075767500 1285021819_thumb.jpg


  4. James Taylor was too noble for me as a young cat, but things change. Saw him in concert for the second time last summer and it was once again tremendous. The way they master the not too fast, slow, wild nor lazy zone, is amazing. They cover just about every mid-flavour there is, no bar left unspirited or vapid. Coincidence made me have a chat with Mr. Gadd (a little rhyme for you there) walking around relaxing in Tivoli before the show. I'm supposed to be a grown up now, still had to ask for an autograph. (His floor-tom sound alone should be reason enough).

    What's very interesting about the interview, is the way Taylor writes a cappella. Just hum away and fix some unexpected chords later.

    Long live sweet baby J.T.


  5. If this trio should need a tea-servant, count me in (for the autumn holidays anyway). Every forth year or so I run into that kind of music and each time my hat blows off. And as I like my hat, 3 or 4 tunes are enough. But that mandolin-man is beyond, , , how can he even begin learn those roles ? . . . I'm a brick, simply don't get it.


  6. Everything about it is cool. Even the red capo talking to his shirt and the H-bird behind. Don't think we know this artist here in Scandinavia (Europe), but he sure is worth goin' for. And the guitar, both relaxed and focused, , , sounds better than good. Looks as if it is silk and steel strings, they have that flavour/colour. Tried a set on my Taylor 510 Lemon Grove a week ago. Okay for the experiment and might be good for certain recordings - had to make a quick bronze-return though.

    Back to R. Crowell : He knows what he's doin. . .


  7. No offence, you're so wellcome (I find differences in personal taste interesting, and tend to see what you mean). What I thought to be a little subjective, was your feelings towards the square shouldered/sunburst combination from the aestetical standpoint - which of course is perfectly ok, but doesn't say a lot about the SQ.'s as instruments. A thing you manage to do so well in the later post. Anyway, - as mentioned - what I'd like to know, is facts about the early 60'ties models compared to the later, soundwise. How much louder are they, do they provide a wider dynamic range etc. Hope to get some reaction. Nuanced descriptions wouldn't be bad.


  8. I can tell you that there is nothing like a vintage Gibson, nothing. My 69 CW has mindblowing tone, espcially now that Ive equipped it with DR Sunbeams (13's) which just put the tone into a whole new level. Thank you lord for DR's, finally found mediums that feel like lights to play !

     

    Will try to find a set and put them on my 68 SJ for a test. You sound convincing. This late60'ties guitar is fine - best when played with pick in songs like 'Tell Me Why' (N. Young) or fingerpicked with capo on third or fourth fret - but it is so gentle and quiet. The rumour says, we have to move down behind 65 to get the real sweets. The light-weight, scalloped, intensely projecting ones. I met some once in a while in the past without really being into what was inside them and so, and they always seemed to blow my mind. In fact they created some kind of myth in my memory that I'm here chasing. And though willing to take chances, I'd rather not se myself end up as some Don Quixote figure. You know how this brave knight rode out for something that just wasn't there. . .


  9. Yep, here comes 'zw' (and I know you are in the heavy SJ-category Sir). But in all respect, that's an immediate subjective point of view, isn't it. In these eyes there's something wild about the sunburst SQ. models, which attracts me alot (okay, admit the flora/fauna cartoon of the H-bird guard wakes a double-feeling). Having spent my whole life behind natural, puristic 6-strings - mostly my Martin D-35, the square shouldered SJ now manage to bring up the savage youngster in me. I'm swallowed by romance.

    What I really like to know has to do with the actual sound. ksdaddy talked positive about his first-60'ties SJ some days ago, but on a emotional level. Remember you ,'zw', commenting on them too. My Q. : Are they really worth hunting (let's forget about bridges, they can be changed), or am I caught in a craze. . . .


  10. Thats pretty much how it normally ends with all the serious bidders going mad in the last second. But be careful with buying Gibsons online. Unfortunately Gibson acoustics have a horrid reputation for quality inconsistency and they should really be played first before purchase.

     

    Mmmm, had a rather serious dialogue with seller beforehand, but thanks for advicing. Now further. . .

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