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| Your 6 favourite blues guitarists.... |
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| kudo |
 Posted: Sun Jul 31, 2005 6:36 pm Post subject: |
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Joined: 23 Mar 2004
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Location: sheffield, england
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| stratopedia wrote: | 1 - Eric Clapton
2 - SRV
3 - Jimi Hendrix
4 - Jimmy Page (zaman Yardbirds lagi bluesy la kot)
5 - Robert Johnson (kata legends punya idol)
6 - Albert/BB/Freddie King (kira skali la ye)
If I had possession... over judgment day... Mmhmm... |
yo! serih!
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| riki_rahman |
| Posted: Mon Aug 01, 2005 9:33 am Post subject: |
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Location: UK KL
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serih?
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| stratopedia |
| Posted: Mon Aug 01, 2005 11:43 am Post subject: |
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Joined: 31 Jul 2005
Posts: 213
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| krik wrote: | | stratopedia wrote: | 1 - Eric Clapton
2 - SRV
3 - Jimi Hendrix
4 - Jimmy Page (zaman Yardbirds lagi bluesy la kot)
5 - Robert Johnson (kata legends punya idol)
6 - Albert/BB/Freddie King (kira skali la ye)
If I had possession... over judgment day... Mmhmm... |
yo! serih!
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haha kudo ma man. gua baru nak berjinak2 ngan forum ni da... skali ada nampak krik dan nutnap... haha... |
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| calibre2001 |
| Posted: Wed Aug 10, 2005 11:45 pm Post subject: |
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Joined: 12 May 2005
Posts: 59
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I second Rory Gallagher
I just listened to the BBC Sessions album and wow. I recommend downloadin it or somethin.
Great playing, great tone, he's no innovator but he definitely rocks way better than SRV. Admittedly I'm no big SRV fan bur Rory is something bigger in my opinion!
We miss you Rory! |
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| djemi |
| Posted: Mon Aug 22, 2005 2:03 pm Post subject: |
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Joined: 19 Aug 2005
Posts: 38
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1. SRV
2. Gary Moore
3. Jason Becker punya blues pun dasyat. |
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| Raggy |
| Posted: Mon Sep 05, 2005 8:20 pm Post subject: Blues Guitarists |
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Joined: 01 Sep 2005
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hi, all  my first real post here, nice to know there's a guitar community online in m'sia.
anyway, about the great Blues guitarists...... I think blues is mainly about "feel", and what we like to hear depends not only on how well the musician communicates his feeling, but also on what we're feeling! So if you're alone and depressed then you really don't want to hear Johnny Winters ripping it off but perhaps listening to BB King & Albert Collins do "Stormy Monday" (Blues Summit album) might just keep you from jumping off that balcony.
There lots of different blues styles, I tend to relate to different styles on different days. (patut ler kawan aku selalu kata i belong in Tanjung Rambutan). It also makes a difference if you're listening on a hot afternoon drinking coffee alone or if you're in a pub after your 10th Guinness......that's when Hendrix's "Red House" makes perfect sense.
A point many guitarists miss (imho) is that the great blues guitarists' best performances are invariably when they're feeding of the "feel" of other musicians.....e.g. Clapton's great live blues performances probably owe a lot to Andy fairweather Love's brilliant background guitar craftsmanship, and when you get a blues band with a good harp player (think Junior Welles!) even a simpler guitarist sounds right on the money.
Only negative opinion I have on this whole issue , however, is that Gary Moore may be a great guitar player, but he is NOT a bluesman. Watch his concet videos and you can see the band falling asleep while he goes on and on and on and on solo-ing in circles. great technique, but gawd i hate what he does to the blues. But then, what do I know anyway.
by the way, you should also listen to Clarence "Gatemouth" Brown. Bloody good stuff.
oops, sorry, long post. apologies 
Raggy |
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| Erylasia |
| Posted: Mon Sep 05, 2005 8:23 pm Post subject: |
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| calibre2001 |
| Posted: Tue Sep 06, 2005 10:33 am Post subject: |
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Joined: 12 May 2005
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Yeah Clarence Gatemouth Brown's Texas swing blues is something closer to T-Bone Walker's original style.
I do recommend swing blues artists such as Charlie Christian, Kenny Burell, Herb Ellis, Joe Pass, Wes Montgomery, well they are in a way 'jazz' guitarists but they couldnt be one if they didnt know the blues!!
Also listen to Little Charlie and the NightCats, Duke Robillard for more modern swing blues and Rusty Zinn for modern traditional blues.
You can watch videos of these people struttin their stuff in guitar.com
Try downloadin the videos, its really worthwhile |
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| omarjamaludin |
| Posted: Tue Sep 06, 2005 10:48 am Post subject: |
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havent heard of charlie christian ..but am a big fan of wes montogomery with his thumb picking octave lines..sweet!
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| jason_becker |
| Posted: Tue Sep 06, 2005 11:48 am Post subject: |
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Joined: 05 Sep 2005
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i'm rooting for;
1. JJ Cale
2. Mark Knopfler
3. Yngwie
4. SRV
5. Jimi Hendrix
jason becker n paul gilbert also not bad. blues can be played by many guitar heros, the diff is only they way they played. for me yngwie has the most amazing skills in the blues progression. and i just concern bout his picking style. so different..
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| kudo |
| Posted: Tue Sep 06, 2005 2:05 pm Post subject: Re: Blues Guitarists |
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Joined: 23 Mar 2004
Posts: 342
Location: sheffield, england
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| Raggy wrote: | I think blues is mainly about "feel", and what we like to hear depends not only on how well the musician communicates his feeling, but also on what we're feeling!
A point many guitarists miss (imho) is that the great blues guitarists' best performances are invariably when they're feeding of the "feel" of other musicians.
Only negative opinion I have on this whole issue , however, is that Gary Moore may be a great guitar player, but he is NOT a bluesman. |
say amen to that! right on, on all counts!
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| calibre2001 |
| Posted: Mon Sep 12, 2005 7:59 am Post subject: |
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Joined: 12 May 2005
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Just let you guys know: Clarence Gatemouth Brown has left us all. He had however escaped Katrina interestingly.
RIP
Grammy winner 'Gatemouth' Brown dies
Louisiana musician had escaped Katrina
Sunday, September 11, 2005 Posted: 1336 GMT (2136 HKT)
Clarence "Gatemouth" Brown had more than 30 recordings and won a Grammy award in 1982.YOUR E-MAIL ALERTS
BATON ROUGE, Louisiana (AP) -- Clarence "Gatemouth" Brown, the singer and guitarist who built a 50-year career playing blues, country, jazz and Cajun music, died Saturday in his hometown of Orange, Texas, where he had gone to escape Hurricane Katrina. He was 81.
Brown, who had been battling lung cancer and heart disease, was in ill health for the past year, said Rick Cady, his booking agent.
Cady said the musician was with his family at his brother's house when he died. Brown's home in Slidell, Louisiana, a bedroom community of New Orleans, was destroyed by Katrina, Cady said.
"He was completely devastated," Cady said. "I'm sure he was heartbroken, both literally and figuratively. He evacuated successfully before the hurricane hit, but I'm sure it weighed heavily on his soul."
Although his career first took off in the 1940s with blues hits "Okie Dokie Stomp" and "Ain't That Dandy," Brown bristled when he was labeled a bluesman.
In the second half of his career, he became known as a musical jack-of-all-trades who played a half-dozen instruments and culled from jazz, country, Texas blues, and the zydeco and Cajun music of his native Louisiana.
By the end of his career, Brown had more than 30 recordings and won a Grammy award in 1982.
"I'm so unorthodox, a lot of people can't handle it," Brown said in a 2001 interview.
Brown's versatility came partly from a childhood spent in the musical mishmash of southwestern Louisiana and southeastern Texas. He was born in Vinton, Louisiana, and grew up in Orange, Texas.
Brown often said he learned to love music from his father, a railroad worker who sang and played fiddle in a Cajun band. Brown, who was dismissive of most of his contemporary blues players, named his father as his greatest musical influence.
"If I can make my guitar sound like his fiddle, then I know I've got it right," Brown said.
Cady said Brown was quick-witted, "what some would call a 'codger."'
Brown started playing fiddle by age 5. At 10, he taught himself an odd guitar picking style he used all his life, dragging his long, bony fingers over the strings.
In his teens, Brown toured as a drummer with swing bands and was nicknamed "Gatemouth" for his deep voice. After a brief stint in the Army, he returned in 1945 to Texas, where he was inspired by blues guitarist T-Bone Walker.
Brown's career took off in 1947 when Walker became ill and had to leave the stage at a Houston nightclub. The club owner invited Brown to sing, but Brown grabbed Walker's guitar and thrilled the crowd by tearing through "Gatemouth Boogie" -- a song he claimed to have made up on the spot.
He made dozens of recordings in the 1940s and '50s, including many regional hits -- "Okie Dokie Stomp," "Boogie Rambler," and "Dirty Work at the Crossroads."
But he became frustrated by the limitations of the blues and began carving a new career by recording albums that featured jazz and country songs mixed in with the blues numbers.
"He is one of the most underrated guitarists, musicians and arrangers I've ever met, an absolute prodigy," said Colin Walters, who is working on Brown's biography. "He is truly one of the most gifted musicians out there.
"He never wanted to be called a bluesman, but I used to tell him that though he may not like the blues, he does the blues better than anyone," added Walters. "He inherited the legacy of great bluesmen like Muddy Waters and John Lee Hooker, but he took what they did and made it better."
Brown -- who performed in cowboy boots, cowboy hat and Western-style shirts -- lived in Nashville in the early 1960s, hosting an R&B television show and recording country singles.
In 1979, he and country guitarist Roy Clark recorded "Makin' Music," an album that included blues and country songs and a cover of the Billy Strayhorn-Duke Ellington classic "Take the A-Train."
Brown recorded with Eric Clapton, Ry Cooder, Bonnie Raitt and others, but he took a dim view of most musicians -- and blues guitarists in particular. He called B.B. King one-dimensional. He dismissed his famous Texas blues contemporaries Albert Collins and Johnny Copeland as clones of T-Bone Walker, whom many consider the father of modern Texas blues.
"All those guys always tried to sound like T-Bone," Brown said.
Survivors include three daughters and a son.
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| kudo |
| Posted: Mon Sep 12, 2005 8:02 am Post subject: |
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Joined: 23 Mar 2004
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Location: sheffield, england
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there's not many of them left. they either are in their 80's or die young in airplane crashes.
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"Welcome to Tube Club. The first rule of Tube Club: you do not talk about solid state." -The Uncle
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| fReqZz |
| Posted: Mon Sep 12, 2005 12:18 pm Post subject: |
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i'm no bluesy master nor bluesy player.. but i do enjoy clapton crossroads... recently just bought the clapton version of robert j's song... gettin me screamin all night.. hehe... dying to be like him, but i'm zero at technical and -ve 803821097401 at feel... huhu~
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| Raggy |
| Posted: Mon Sep 12, 2005 1:52 pm Post subject: |
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sad to hear of "Gatemouth"'s passing, but I suppose he's had a good long innings so I'll just wish him happy times jamming with SRV and Elvis and Ray Charles.....
I remember trying to play his version of "Caladonia" after seeing the Blues Gang doing it (Karim sings it perfectly!), and to my amazement I couldn't get any guitar lick going....my standard blues licks were all unworkable into his style, seemed like a totally different scale being used. Then I found this website where they showed how the Myxolydian scale should be used, and to play the appropriate scle for each chord i.e. in A to play Myx A then chord goes to D to play Myx D..... hahahaha all that figuring out what chord what scale position really made my idiot kepala pening..... takkan nak main blues kena pakai matematik pulak, so I kept looking for some simpler method......
What I discovered (just my experimentation, please correct me if I'm wrong) is that to get the "feel" of this kind of swing blues, one has to just play the standard blues scale, but pay special attention to how you go up and down...now this is damn strange, but if you try to (lower notes going up to higher notes) play b3, 3, 5 onwards you got to skip the 4 note going up, but when you come down then it's OK to come down with the 4 note....so anyway, by paying attention to how one goes up in this area, then also in the 6 & 7 notes you can sort of work out a "method" where you just play the "A" blues scale in a typical texas swing blues song over the A, D and E chords (just note that the D and E are more often D9 and E9 rather than D7 or E7)...... errr, I'm typing this in office, so no guitar around to check if what I'm writing is really right, but I'm fairly sure if you do a simple experiment over the blues scale while you listen to one of his swing songs, you'll work out that this thing about climbing up and down differently is the "secret" to the feel behind this style of lick. Use "Caladonia" as a reference song.
But please let me know if I'm wrong.
[err, what i mean when I say 1, 3, 5, 6, 7 etc notes: I mean the notes as they are positioned on the scale e.g. in the scale of A 1=A, 2=B, b3=C, 3=C#, 4=D, 5=E, 6=F, 7=G, maj7=G#]
Thinking in terms of the 1,3,5,7 etc position of notes is much much much much MUCH better than trying to memorize them as A B C etc cos it helps us move across the fingerboard in a clear & logical way. It also is the basis for understanding how all chords are built, so really, it is the starting point for everything on the guitar. (unfortunately I only realized this now that I am too old, but i hope you younger guys will give this matter a look, it will really make you master the guitar if you spend time on it).
Playing fast, OK, very impressive lah, but the minah kilang also can assemble the electronic product very fast, why nobody clapping for her is because she also don't know how the product works, she's just moving her fingers like she did a million times before. But the fellow who invented just one light bulb, even though it took him years to figure out how to do it, till today everybody salutes Edison.
and then maybe one day later we can discuss the difference between the Eric Clapton blues style and BBKing sytle...... |
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