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24,
05:16,
2008-05-10 11:00:10 Description: http://www.myspace.com/djayelectro
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techno,
music studio ,Reason 3.0, Acid, virtual dj, fruity loops, trance editing, eurovision, euro vision, techno , (More) http://www.myspace.com/djayelectro
Check my channel for my other songs
techno,
music studio ,Reason 3.0, Acid, virtual dj, fruity loops, trance editing, eurovision, euro vision, techno , trance, progressive, house, dance , drum, europa, dj tiesto, armin van buren, lord of the trance, tekno, beat, fantastic, arabesque trance, oriental trance,techno, greece,rave, club, disco, nostalgic trance , old school trance, new trance , girls, fantastic techno, atb, benni benassi, cascada, faithless,ppk, moby, push, energy 52, dj sammy, dj tatana, eurotrance, eurodance, dj dean, dj dan, delerium, deepest blue, dance 2 trance, ayla, albion, eternity, andain, best trance, greatest trance ever, goa trance , sky high , armand van helden, sexy trance, extacy, virtual, trance anthem, trans, tech, electronica, electronic music, producer, djing, mixin, editin, netherland,dance club germany, sexy techno, ambiance, discotech, djato, france, , soul eclipse, dance party , best trance anthem, best techno, best music, interesting trance , flying , flanger effects, audio edit, music edit, dj tiesto traffic, maelstrom, vocal, airless, insomnia, future trance, club quake, house music, instrumental, intro, forever today, trance angel, angel, no omre tears, remix, music automation, reason 2.0, propellerhead reason, arabic techno, vicious cycle, vicious circle, turntable, vinyl, drum, bass, fantasia, guitar, revulotion of dance trance, hot music, producer,canada, underground, techno hit, underground hit, underground party music, best house music ever, house, germany, euro techno, club underground, russia, rave music, industrial techno, great techno ever, hit techno, top 100 techno, fantastico, tiesto, alibi, atb, best dance music ever , loco, india, california club, newyork house music, florida techno, miami techno, greatest house song ever, new house song, best of house, best of techno
tekno, beat, fantastic, arabesque trance, oriental trance, turk, turkish nights, greece,bursa, ankara, istanbul, izmir,antalya, rave, club, disco, nostalgic trance , old school trance, new trance , girls, fantastic techno, atb, benni blflanger effects, audio edit, music edit, dj tiesto traffic, maelstrom, vocal, airless, insomnia, future trance, club quake, house music, instrumental, intro, forever today, trance angel, angel, no omre tears, remix, music automation, reason 2.0, propellerhead reason, turkish arabic techno, vicious cycle, vicious circle, turntable, vinyl, drum, bass, fantasia, guitar, revulotion of dance trance, hot music, hot club music, sexy drums, revulotion of trance, crosfade, ercik, dj 666, satanic techno, party, rome, paris, athena, frankurt , mad dance music , opera , bursa underground, bursa techno club, bursa city, fener opera, state of trance, world, brookers, dj crazy trance hits , best song ever, the best techno ever, best dance song ever, intro party, intro video, trance party, dj intro music, music station, radio trance, best music ever, pretty, turkish music, turk djs, turks, ottoman, usa, U.S , brooke, greatest trance hits, alibi, german , italian, spanish djs, refill, rex, drum loops, sexy bass kine, bass line, arp squench, goa trance, india trance,musica, musica trança, musica trance, hiperstar, bursa nights, clubs techno, anti crazy blead to suffer a lot , anti köksal, türk tekno, türk trance, trance türkiye,daddy dj, dj shadow, resurrection, rebirth, music sampler rebirth reason fl studio cool edit pro turnable pro dj pretty trance trance is life unknown source realization,music coposer, music producer, rome, athena, france, paris, india, japan techno music, asia techno, popular,electronica, alarma, club bass, house bass,djmadturk, madturkish (Less)
Channel: youtubeTags: alternative arts beauty blues classical country crafts dance electronic folk hip-hop indie jazz pop r&b rap religious
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37,
04:09,
2008-04-17 15:10:21 Description: Roy Wood (born Roy Adrian Wood, 8 November 1946, Kitts Green, Birmingham, West Midlands, England) - sometimes erroneously thought to be born as Ulysses Adrian Wood, from an offhand interview comment (More) Roy Wood (born Roy Adrian Wood, 8 November 1946, Kitts Green, Birmingham, West Midlands, England) - sometimes erroneously thought to be born as Ulysses Adrian Wood, from an offhand interview comment in the 1960s - is a songwriter, guitarist and multi-instrumentalist. He was particularly successful in the 1960s and 1970s as member and co-founder of the bands The Move, Electric Light Orchestra and Wizzard. As a songwriter, he contributed a number of hits to the repertoire of these groups.-------------------------------Career Wood's first group in Birmingham in the early 1960s was Gerry Levene and the Avengers; he moved to Mike Sheridan and the Nightriders (the band later to become The Idle Race, in which Jeff Lynne took his first steps); from this basis, and other Birmingham-based groups, the most talented musicians formed The Move, and Wood became their musical leader. The Move quickly entered the charts and became well-known for spectacular stage shows; their track "Flowers in the Rain" was the first track to be played on Radio 1 when it was launched in 1967.[1]After the departure of The Move's lead singer Carl Wayne, Wood became more prominent, developing an unconventional image for a 'pop group'. Since The Move's members could not agree on musical direction, the potential of the group was diluted. Wood therefore began to develop into other directions. Wood was keen on musical experimentation and was in this respect one of the most progressive musicians of his time, taking the 'pop group' into new areas. He was an early proponent of combining rock'n'roll and pop music with other styles, such as classical music, or the big band sound, and introduced classically-styled string and brass sections into the pop record. When The Move was still on tour, he founded, together with his band colleagues Jeff Lynne and Bev Bevan, the Electric Light Orchestra (ELO), which was later to gain major commercial success by successfully fusing the basis of a rock band with a permanent string section, without losing rock 'n' roll roots. ELO's early live performances were chaotic, and after increasing tensions, Wood left and formed a new group, Wizzard, which assembled cellists, brass players and a bigger rhythm section, with several drummers and percussionists. Wood emulated the wall of sound production style of Phil Spector whilst successfully, and affectionately, pastiching the rock n roll style of the early 1960s. Meanwhile, he released several solo albums, exploring further musical directions. His 1973 album, Boulders, was an almost entirely solo effort, right down to the sleeve artwork, with Wood playing a wide variety of instruments. A second solo album Mustard (1975), including contributions by Phil Everly and Annie Haslam, was less successful. The line-up of albums was always fascinating, because of the large number of instruments Wood, and his band members, were playing. Wood himself is mentioned as singer as well as player of guitars, bass guitar, sitar, cello, double bass, saxophones, clarinet, trombone, tuba, recorders, oboe, French horn, banjo, mandolin, bassoon, drums, percussion, vibraphone, bagpipes and keyboards. Collectively, hit records by The Move, Electric Light Orchestra, Wizzard, and Wood's own solo singles demonstrate an impressive chart run for an individual, both as composer and performer. By the late 1970s, Wood was appearing less in public; commercial success faded away, and his musical experiments did not always match popular taste, but he remained productive in the studio as musician, producer and songwriter. He was a big Elvis fan, but never succeeded in getting 'The King' to adopt one of his compositions. However, he was untiring as a producer for other acts, most successfully doo-wop revivalists Darts. In 1976, Wood recorded Beatles cover songs "Lovely Rita" and "Polythene Pam" for the ill-fated musical documentary All This and World War II. In 1977 he formed the Wizzo Band, a jazz-rock ensemble, whose only live performance was a BBC simultaneous TV and radio broadcast in stereo, which split early the following year after cancelling a nationwide tour. In the early 1980s Wood released a few singles under his own name and also as The Helicopters, and played some live dates under this name. The release of one of these singles, "Aerial Pictures", backed with "Airborne", was cancelled owing to the lack of chart success for its predecessors, but both sides appeared for the first time in 2006 on a compilation CD, Roy Wood - The Wizzard!. "Aerial Pictures", using the original backing track, subsequently became a solo single for former Move vocalist Carl Wayne. Wood also made a one-off rock'n'roll medley single with Phil Lynott, Chas Hodges and John Coghlan, credited to The Rockers, "We Are The Boys", which made the Top 100 in late 1983, and played a leading role in the Birmingham Heartbeat children's charity concert, on 15 March 1986. As well as designing the logo, Wood stole the show [citation needed] in a line-up which also included the Electric Light Orchestra and the Moody Blues. After an extended period of hibernation, following the release of the album Starting Up (1987), a cover version of the Len Barry hit "1-2-3", and a guest vocal appearance on one track on Rick Wakeman's Time Machine album, he went on the road with 'Roy Wood's Army'. Rumours of a new live album, and an album of new studio work, provisionally called "Electric Age", did not materialise. He also recorded a two tracks with Jeff Lynne around this time ("If You Can't Get What You Want" and "Me and You"), which likewise have never seen the light of day. Altogether he had more than 20 singles in the UK Top 40 under various guises, including several number one hits. His most regularly performed and broadcast oldie is the seasonal Wizzard single "I Wish It Could Be Christmas Everyday". In 1995 he released a new live version as the 'Roy Wood Big Band', which charted at No. 59, and in 2000 he joined forces with Mike Batt and The Wombles, for a re-recording of the song and the Wombles' hit "Wombling Merry Christmas", which reached No. 22. Most recently, he has formed 'Roy Wood's Rock and Roll Band' for occasional live dates and TV performances in the UK. Fans of Wood are a loyal bunch, and in 2007 a group of them launched the website Release Roy! lobbying Warner Brothers Records to release two of Wood's 1970s albums Super Active Wizzo (now released on Wounded Bird Records), and On The Road Again. Wood currently appears in the Christmas catalogue advert for Argos, where he plays the part of a rowdy neighbour playing guitar along to Wizzard's Christmas #1. Roy Wood is not to be confused with Ron Wood, guitarist with The Jeff Beck Group, The Faces and The Rolling Stones. (Less)
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24,
05:03,
2008-04-17 15:10:21 Description: Roy Wood (born Roy Adrian Wood, 8 November 1946, Kitts Green, Birmingham, West Midlands, England) - sometimes erroneously thought to be born as Ulysses Adrian Wood, from an offhand interview comment (More) Roy Wood (born Roy Adrian Wood, 8 November 1946, Kitts Green, Birmingham, West Midlands, England) - sometimes erroneously thought to be born as Ulysses Adrian Wood, from an offhand interview comment in the 1960s - is a songwriter, guitarist and multi-instrumentalist. He was particularly successful in the 1960s and 1970s as member and co-founder of the bands The Move, Electric Light Orchestra and Wizzard. As a songwriter, he contributed a number of hits to the repertoire of these groups.--------------------------------Career Wood's first group in Birmingham in the early 1960s was Gerry Levene and the Avengers; he moved to Mike Sheridan and the Nightriders (the band later to become The Idle Race, in which Jeff Lynne took his first steps); from this basis, and other Birmingham-based groups, the most talented musicians formed The Move, and Wood became their musical leader. The Move quickly entered the charts and became well-known for spectacular stage shows; their track "Flowers in the Rain" was the first track to be played on Radio 1 when it was launched in 1967.[1]After the departure of The Move's lead singer Carl Wayne, Wood became more prominent, developing an unconventional image for a 'pop group'. Since The Move's members could not agree on musical direction, the potential of the group was diluted. Wood therefore began to develop into other directions. Wood was keen on musical experimentation and was in this respect one of the most progressive musicians of his time, taking the 'pop group' into new areas. He was an early proponent of combining rock'n'roll and pop music with other styles, such as classical music, or the big band sound, and introduced classically-styled string and brass sections into the pop record. When The Move was still on tour, he founded, together with his band colleagues Jeff Lynne and Bev Bevan, the Electric Light Orchestra (ELO), which was later to gain major commercial success by successfully fusing the basis of a rock band with a permanent string section, without losing rock 'n' roll roots. ELO's early live performances were chaotic, and after increasing tensions, Wood left and formed a new group, Wizzard, which assembled cellists, brass players and a bigger rhythm section, with several drummers and percussionists. Wood emulated the wall of sound production style of Phil Spector whilst successfully, and affectionately, pastiching the rock n roll style of the early 1960s. Meanwhile, he released several solo albums, exploring further musical directions. His 1973 album, Boulders, was an almost entirely solo effort, right down to the sleeve artwork, with Wood playing a wide variety of instruments. A second solo album Mustard (1975), including contributions by Phil Everly and Annie Haslam, was less successful. The line-up of albums was always fascinating, because of the large number of instruments Wood, and his band members, were playing. Wood himself is mentioned as singer as well as player of guitars, bass guitar, sitar, cello, double bass, saxophones, clarinet, trombone, tuba, recorders, oboe, French horn, banjo, mandolin, bassoon, drums, percussion, vibraphone, bagpipes and keyboards. Collectively, hit records by The Move, Electric Light Orchestra, Wizzard, and Wood's own solo singles demonstrate an impressive chart run for an individual, both as composer and performer. By the late 1970s, Wood was appearing less in public; commercial success faded away, and his musical experiments did not always match popular taste, but he remained productive in the studio as musician, producer and songwriter. He was a big Elvis fan, but never succeeded in getting 'The King' to adopt one of his compositions. However, he was untiring as a producer for other acts, most successfully doo-wop revivalists Darts. In 1976, Wood recorded Beatles cover songs "Lovely Rita" and "Polythene Pam" for the ill-fated musical documentary All This and World War II. In 1977 he formed the Wizzo Band, a jazz-rock ensemble, whose only live performance was a BBC simultaneous TV and radio broadcast in stereo, which split early the following year after cancelling a nationwide tour. In the early 1980s Wood released a few singles under his own name and also as The Helicopters, and played some live dates under this name. The release of one of these singles, "Aerial Pictures", backed with "Airborne", was cancelled owing to the lack of chart success for its predecessors, but both sides appeared for the first time in 2006 on a compilation CD, Roy Wood - The Wizzard!. "Aerial Pictures", using the original backing track, subsequently became a solo single for former Move vocalist Carl Wayne. Wood also made a one-off rock'n'roll medley single with Phil Lynott, Chas Hodges and John Coghlan, credited to The Rockers, "We Are The Boys", which made the Top 100 in late 1983, and played a leading role in the Birmingham Heartbeat children's charity concert, on 15 March 1986. As well as designing the logo, Wood stole the show [citation needed] in a line-up which also included the Electric Light Orchestra and the Moody Blues. After an extended period of hibernation, following the release of the album Starting Up (1987), a cover version of the Len Barry hit "1-2-3", and a guest vocal appearance on one track on Rick Wakeman's Time Machine album, he went on the road with 'Roy Wood's Army'. Rumours of a new live album, and an album of new studio work, provisionally called "Electric Age", did not materialise. He also recorded a two tracks with Jeff Lynne around this time ("If You Can't Get What You Want" and "Me and You"), which likewise have never seen the light of day. Altogether he had more than 20 singles in the UK Top 40 under various guises, including several number one hits. His most regularly performed and broadcast oldie is the seasonal Wizzard single "I Wish It Could Be Christmas Everyday". In 1995 he released a new live version as the 'Roy Wood Big Band', which charted at No. 59, and in 2000 he joined forces with Mike Batt and The Wombles, for a re-recording of the song and the Wombles' hit "Wombling Merry Christmas", which reached No. 22. Most recently, he has formed 'Roy Wood's Rock and Roll Band' for occasional live dates and TV performances in the UK. Fans of Wood are a loyal bunch, and in 2007 a group of them launched the website Release Roy! lobbying Warner Brothers Records to release two of Wood's 1970s albums Super Active Wizzo (now released on Wounded Bird Records), and On The Road Again. Wood currently appears in the Christmas catalogue advert for Argos, where he plays the part of a rowdy neighbour playing guitar along to Wizzard's Christmas #1. Roy Wood is not to be confused with Ron Wood, guitarist with The Jeff Beck Group, The Faces and The Rolling Stones. (Less)
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217,
04:54,
2008-05-18 02:34:08 Description: Special Promo Code:
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13,
03:21,
2008-04-17 15:12:12 Description: The Marcels were a doo-wop group known for turning beloved American classical pop songs into rock and roll. The group formed in 1959 in Pittsburgh, Pennsylvania, with lead Cornelius Harp, bass Fred (More) The Marcels were a doo-wop group known for turning beloved American classical pop songs into rock and roll. The group formed in 1959 in Pittsburgh, Pennsylvania, with lead Cornelius Harp, bass Fred Johnson, Gene Bricker, Ron Mundy, and Richard Knauss. The group was named by Fred Johnson's younger sister Priscilla, after a popular hair style of the day (the Marcell wave). In 1961 many were shocked to hear a new version of the ballad, "Blue Moon" that began with the bass singer saying, "bomp-baba-bomp" and "dip-da-dip." Still, the record sold a million copies and is featured in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. The disc climbed all the way to number one in the UK Singles Chart. However all follow-ups sank without trace, and the group became known there as a one-hit wonder. In their U.S. homeland, additional revivals in the same vein as "Blue Moon" - "Heartaches" and "Melancholy Baby" - were less successful, although the former peaked in the Top 10 of Billboard Hot 100 singles chart and eventually sold over one million copies worldwide. In August 1961, Knauss and Bricker left and were replaced by Allen Johnson (brother of Fred) and Walt Maddox. Mundy left soon after, leaving the group a quartet. In 1962, Harp and Allen Johnson left, and were replaced by Richard Harris and William Herndon. There was a brief reunion of the original members in 1973. The group made several recordings in 1975 with Harp back on lead. By the early 1990s the group included Johnson, Maddox, Harris, Jules Hopson, and Richard Merritt. The group split around 1995. Fred Johnson formed his own group with new members, while the other four members recruited new bass Ted Smith. Maddox won a lawsuit against Sunny James Svetnic, the manager of Johnson's group, for trademark infringement in 1996. Svetnic died in 2002. Johnson reunited with Harp, Mundy, and Knauss in 1999 for the PBS special Doo Wop 50 with a fifth member. (Less)
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68,
02:23,
2007-06-15 15:28:30 Description: Are you all ready for this!
All my guitars and amps in one 'Eye-Popping' slideshow for your enjoyment and envy.
I've been painstakingly preparing to record a bunch of songs with (More) Are you all ready for this!
All my guitars and amps in one 'Eye-Popping' slideshow for your enjoyment and envy.
I've been painstakingly preparing to record a bunch of songs with various tunings so I needed to fix up some of my un-maintained guitars because they were out of intonation, adjustment and had some issues that needed tending to before recording with them.
After spending the last 2 weeks overhauling my entire guitar collection, I decided to photograph them all against a green screen. I intended to make a slideshow, but didn't really foresee that I would put so much into it. I got a little carried away, but had a lot of fun perfecting my video editing skills. Below is the history behind my guitar collection followed by a highly detailed explanation of my maintenance regimen for recording or gigging.
Instrument Biography:
#1 Westone Dimension IV Electric
I bought this from Central Music in 1989 when they were still in St. Catharines. It was my second guitar replacing a destroyed HONDO strat copy that my Mom bought for me at RJ's music in Niagara Falls when I was 16.
#1 was the first guitar I played out live with (Aqua duck and Sam's to all you Niagara Regional's) and is really 'Fugly' up close. It has survived some serious torture...the worst being thrown down a flight of stairs (not in a case) when I was still dealing with anger issues. I tune this to Drop C# and it still plays like a beast of true Metal Mayhem.
#2 Ibanez Proline Electric
My old girlfriend Kim bought this for me in 1990 at Ostanek's Music St. Catharines and it became my main guitar as it was in better shape than my Westone and I could solo easier with this one.
This guitar has a replacement tremolo (blocked) because the saddles were worn out and I won it from Ebay cheaper than buying new parts from Hoshino (Ibanez) as they rape you on replacement parts and music stores rarely stock what you need anyway. It is tuned Drop C#. The pickguard is just some mirrored stickers to change the look of it from the old red sticker that used to be on it...as seen in previous pictures on myspace. I will always value the smooth Ebony fingerboard on this guitar.
#3 Ibanez RG 560 Electric
I bought this guitar in 1992 from Ostanek's Music in St. Catharines. I could not believe my eyes seeing it hanging up high on the wall. I was the first to play it as it was just brought in. This guitar is the guitar that has seen the most live and studio action and became the feel and look that I desired in a guitar. It really needs a fret job too, but I'll get to that in good time. The Low-Pro Edge, in my opinion, is the best tremolo to ever exist on a guitar. It holds in tune (E-flat) after going apes on it and it still flutters likes butter.
#4 Carvin AC175 Acoustic/Electric
This guitar was/still is the most expensive instrument I ever purchased Direct from Carvin in 1994. It has a neck-through body with a deep purple glossy finish. It is just a beautiful guitar to look at and hold and a dream to play. It is really thin like an electric and the action is almost as good tuned up to E-flat using D' Addario bronze 80/20 .011 through .052 gauge. I can shred on it or strum folk songs. It's the ultimate in playable guitars. I'd probably buy more Carvin's but they are so expensive.
#5 Fender DG -- 10LM Acoustic
I bought this acoustic dreadnought in 1995 at Murphy's Audio in Niagara Falls to have a guitar to strum acoustically at parties as the Carvin was too thin to project any volume acoustically without using a PA system or amp. This is a lower end model that plays like shit. The action is high and it buzzes still. The intonation is off too and it just isn't worth modifying. You can't perfume shit you know. lol
I am using it for an open string drone guitar in the key of B-flat...like a baritone with a .068 gauge string for the B and I had to file out the nut to handle the girth of the thicker strings. It has a good tone, so I'll keep it around for the time being.
#6 Ibanez RG 550 Electric
I bought this used from a pawn shop in Niagara Falls in 1996 and it was almost as nice to play as my blue RG 560. It is my only maple fingerboard in my collection. The paint job isn't original either...some fool did it with soft paint that dings up real easy. This is now tuned as a B-flat Baritone with the fatter gauge of strings I mentioned above. The trem is in good shape because I merged the best parts from my old Proline edge into this one.
#7 Peavey Tracer Electric
I bought this from Ostanek's Music in 2000 and it was originally glossy black with chips and dings in it. I sanded it down to bare wood and stained it hunter green...with a satin clear coating. This guitar is heavy and well made. I also cut out more of the lower horn to get up to the higher frets, but it still feels a little clunky on the 22nd fret.
The Kahler Spyder Bridge is an excellent bridge comparable with a Floyd Rose or Edge, but the saddles are no longer available and mine is in rough shape. I decided to block this trem so it would stay in tune and forget finding a left-handed whammy bar for it. I tune this Drop-A-flat with the low A-flat being a .068 gauge string. I turn to these home made baritones when I'm frustrated with my 7-strings, as sometimes 7 strings are one too many, but I want the lowness.
#8 ESP H-201 Electric
I bought this at Steve's Music while in Montreal, Quebec on a trip for my Fiance Visa interview in 2001 with Patti. This guitar looks like a dream and plays nice. It doesn't have that heavy wood feel that I prefer like the Ibanez guitars...after doing some research on guitar synths, I realized that this was the most suitable guitar for the Roland GK-3 pickup as it had enough space between the bridge saddles and the bridge pickup. I still kind of regret the synth purchase as it plays absurdly unpredictable even after repeat setups on the guitar and GR-20. You'll never see me live with the Roland or this guitar for that reason...unless I write nursery rhyme simple melodies at grindingly slow tempos. lol
I will try to program my sequencer this way just to see if that is more successful than playing it live.
#9 Ibanez RG 470 Electric
I bought this on Ebay used in 2003 as a backup for my other blue RG. It is a cheaper Korean knockoff of my Japan made RG 560. The tremolo is a lower grade than the low-pro edge. I actually drilled out the screw-in whammy bar socket and replaced it with the 'edge' 'push in style' of tremolo arm sockets because I despise a rattle-y loose sound from the screw in jobs. The playability however is better than the Japan made RG 560 because they revamped the neck to body joint to remove the struggle to nail those last high frets. I actually should swap tremolos with the other laser blue RG and make this my main guitar.
#10 Ibanez RG 7420 Electric
I bought this guitar on Ebay new in 2003 and dremeled out the pickup cavities to house these EMG 707's because they are deeper and longer than any stock guitar pickup for a seven string. They are basically bass humbuckers. I tune this guitar Drop-A-flat because I just can't play a 7-string tuned normal because I am so used to playing my 'fake' baritone tuning. With 7-strings, you are facing a lack of fingers to get all the notes you want to hear minus the ones you don't while chording. The answer is to drop the string and voila! You can play seven string chords without any foul notes slipping in there.
#11 Ibanez RG 7420 Electric
Déjà vu...I bought this guitar on Ebay used in 2003 to use as a backup to my first one above. I also 'dremeled out' the pickup cavities to house the beastly EMG 707 pickups. I tune this guitar Drop-A-flat as well. The only difference besides all the f-in paint chips on this one is I wood blocked the tremolo for tuning stability and proper intonation for recording my heavy riffs...as heard in this slideshow.
#12 Brice V2 6-string Bass Electric
I bought this bass new online from Rondo Music in 2003 because the price was right...$200. I wanted to try and record the bass to my tunes instead of programming on my Boss Dr. 660 drum machine. It is difficult to play this monster and it buzzes like a cheap instrument tends to do. I tune it an octave lower than my 7-string guitars so my fingerings are exactly the same. I only wish my hands were big enough to play this well. I still am debating buying EMG's for this as well because I think the pickups are weak or I might sell this and get a 5-string bass to get my hand around the neck better.
#13 Valencia CG 190CE Nylon String Classical Guitar
I bought this new online at Rondo Music on the same purchase date as the Bass because I'd save on shipping and it was only $100. I couldn't believe an acoustic-electric nylon string classical for one hundred bucks was a steal. You know the "you get what you pay for" theory? Well, its intonation BLOWS and won't hold tuning well and I had to file the nut and sand the saddle down to get the action within a playable tolerance. I'll have to see if I have a use for this in any future recordings...if I don't, it's gone! I don't see the point in having a guitar collection you can't use...right?
#14 Carvin C850 Acoustic/Electric Dreadnought
I bought this guitar direct from Carvin in 2004 as it was the most affordable thing for a Lefty in acoustics. I was debating shelling out $500 more to go to the customs like my purple guitar, but wanted a full-bodied sound and not just another thin-bodied shredder.
This guitar really puts my Fender acoustic to shame on all levels. The intonation is decent (not perfect) and it is very playable. It is harder to riff out on this, so it is more of the strummer for my softer side. I do get up higher on the neck with the very roomy cutaway. It sounds amazing acoustically or through the on-board transducer pickup. Carvin is an amazing company. Well worth the money.
#15 Ibanez Prestige
I bought this guitar used on Ebay in 2006 to be my main Drop-C# guitar. I paid $500 and it came with the Prestige case and all. New, this guitar was pushing $900 so I got a good deal. The tremolo is stellar as it is the improved version of the Low-Pro Edge found on my RG 560. This tremolo is why the guitar costs $300 more than the cheaper models. It's worth it though. The tuning is perfect and the action is wicked! The neck is effortless to the last fret, so I just may write some better solos to make use of that.
That's all I have so far in my collection, other than a parts bin that could almost make another guitar or two. Now onto the meticulously described process of how I got my instruments in shape to be record-worthy...and for some folks new to guitar playing, you will find some good tips and advice in there. All the non-musicians and pros can gloss over the next chapter. haha!
My electric guitar maintenance process was basically this:
Removed the old corroded strings and recycled them
Lemon oiled the neck applied using an old toothbrush (Barry's Tip)
Polished the frets with super-fine steel-wool while covering the fingerboard (Barry's Tip)
Tightened every loose screw on the guitar (my OCD kicked into high gear)
Dismantled the bridge, replacing stripped out parts and thoroughly cleaned with alcohol
Put new strings on and completely setup guitar (see below for details)
Polish the entire guitar and take a picture of it.
The Finer Details:
I Restrung with D'Addario XLS Light top/Heavy Bottom Strings
.010-.013-.017-.030-.042-.052 on my E-flat/drop C# tuned guitars
I used the same as above for my 7-string guitars with the addition of adding an Ernie Ball .068 gauge string for the low B-flat/Drop A-flat tunings (it's just cheaper that way than buying 7-string sets) ...besides I wanted fat momma's for strings for extra heavy tone.
I also made a few 6-string guitars 'Fake' Baritone guitars by stringing the same as the 7-string guitars minus the high E string. That is how I recorded my Low-B songs in the studio before 7-strings became readily available for LEFTYS.
I then adjusted the truss rod and bridge height for optimum action without BUZZ...I hate buzz and I play hard so my action has to be set high.
Then I made sure all frets played without buzzing and didn't fret out on bends or whammy pull ups.
Then I adjusted the pickup heights to give even volume over all the strings and between pickups
Once the strings were stretched out (by pulling hard on them and retuning) I intonated them in the position I'd be recording in (seated)
A few of my guitars tremolos are just so beat-up that they go out of tune when using them floating, so I blocked the tremolo with wood. They are now like fixed bridges with the added fine tuning precision. I removed the springs and claw out of the rear of the tremolo and cut two pieces of hard wood to wedge on either side of the tremolo block. This way you don't have to have strings on it to keep the bridge in place and you can bend notes like a hard tail without going flat on the ringing strings not bent at the same time. Don't get me wrong, I love whammy bar wanking, but not if the guitar tuning gets out of whack. The guitars that are still floating are that way because they held in tune within acceptable tolerances on my tuner when comparing a dive bomb recovery to a whammy bar pull-up.
I should point out a few other tricks that I incorporated into my setups that I feel add to their sound quality: I used foam/sponge under the strings at the headstock end to prevent that horrible high-frequency ring from the headstock section of the strings that would resonate when playing hard and heavy. Next, on the guitars that have floating tremolos, I folded up about 2' of toilet paper and placed it between the tremolo springs and the plastic trem cover. This takes away that other awful high-frequency spring resonation and doesn't hinder the tuning stability. All this extra effort gives me a guitar that can play 'dead-silence' muted chord chops without the computer editing. It also takes away the feedback issues associated with sympathetic vibrations at high-volumes.
I use EMG active pickups exclusively for their quiet performance and added low-frequency clarity. I can also get the cleanest-clean sound out of them as they don't color the tone of my amp with any gain or fuzz. I always wire these pickups myself and have to reverse all the wiring diagrams and pots so my knobs work properly (counter-clockwise for high volume) for me. Some guitars even needed dremeling to remove enough wood to fit them in place. Luckily I'm a handy guy with tools.
As for the (x) in my pickup explanation: that means non-functional. I have no real use for the middle position pickup on any of my electric guitars because they get in my way of picking, so I lower that pickup out of the way. I generally leave a 'dummy' pickup in this position in my conversions to EMG as to not leave a gaping hole behind...seeing as active and passive are not compatible on the same guitar, without going into a separate signal path. There would be no point because the pickup is lowered too far from the strings to have any real affect anyway.
Well, that's pretty much a wrap on what I wanted to explain to the vast unknown public and to my dear musician friends. I'll spare all of us the tedious task of an explanation for my live rig.
Take care of yourself and cherish what you have in life, no matter how little or excessive it is.
Aaron (Less)
Channel: youtubeTags: Alesis BBE Behringer Brice Carvin ESP Fender Furman Ibanez Marshall Peavey Rockman Rocktron Roland Valencia Westone
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515,
03:37,
2008-05-18 19:30:30 Description: Special Promo Code:
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9,
01:13,
2007-12-11 16:38:33 Description: i'm sorry i couldent find the full song of this they sung at their Reunion,but i have the next best thing.i have their full song in my videos here is the link (More) i'm sorry i couldent find the full song of this they sung at their Reunion,but i have the next best thing.i have their full song in my videos here is the link http://youtube.com/watch?v=tAiu9fjKEHc
please subscribe for more classic rock!!
also i have one more clip from the show right here,check it out,here is the link http://youtube.com/watch?v=jJKHVOhL-CQ
Led Zeppelin were an English rock band that formed in September 1968. Led Zeppelin consisted of Jimmy Page, Robert Plant, John Paul Jones and John Bonham. With their heavy, guitar-driven sound, Led Zeppelin are regarded as one of the first heavy metal bands. Their rock-infused interpretation of the blues, and folk genres also incorporated rockabilly, reggae, soul, funk, jazz, classical, Celtic, Indian, Arabic, pop, Latin, and country. The band did not release the popular songs from their albums as singles in the UK, as they preferred to develop the concept of album-oriented rock.
Over 25 years after disbanding following Bonham's death in 1980, Led Zeppelin continue to be held in high regard for their artistic achievements, commercial success, and broad influence. The band have sold more than 300 million albums worldwide, including 109.5 million sales in the United States, and they are the only band to have had all their albums reach the U.S. Billboard Top 10. Led Zeppelin are ranked No. 1 on VH1's 100 Greatest Artists of Hard Rock.
On September 12, 2007, it was confirmed during a press conference by promoter Harvey Goldsmith that the surviving members of Led Zeppelin will reunite for the Ahmet Ertegün tribute show at The O2 in London on December 10, 2007. (Less)
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12,
00:42,
2007-12-11 16:18:56 Description: i dont know if you care or not,but i have another clip from this amasing Led Zeppelin concert,here is the link http://www.youtube.com/watch?v=dB94A_oSvL4
Led Zeppelin were an English rock band that (More) i dont know if you care or not,but i have another clip from this amasing Led Zeppelin concert,here is the link http://www.youtube.com/watch?v=dB94A_oSvL4
Led Zeppelin were an English rock band that formed in September 1968. Led Zeppelin consisted of Jimmy Page, Robert Plant, John Paul Jones and John Bonham. With their heavy, guitar-driven sound, Led Zeppelin are regarded as one of the first heavy metal bands. Their rock-infused interpretation of the blues, and folk genres also incorporated rockabilly, reggae, soul, funk, jazz, classical, Celtic, Indian, Arabic, pop, Latin, and country. The band did not release the popular songs from their albums as singles in the UK, as they preferred to develop the concept of album-oriented rock.
Over 25 years after disbanding following Bonham's death in 1980, Led Zeppelin continue to be held in high regard for their artistic achievements, commercial success, and broad influence. The band have sold more than 300 million albums worldwide, including 109.5 million sales in the United States, and they are the only band to have had all their albums reach the U.S. Billboard Top 10. Led Zeppelin are ranked No. 1 on VH1's 100 Greatest Artists of Hard Rock.
On September 12, 2007, it was confirmed during a press conference by promoter Harvey Goldsmith that the surviving members of Led Zeppelin will reunite for the Ahmet Ertegün tribute show at The O2 in London on December 10, 2007. (Less)
Channel: youtube Rate it: Rate:
7,
06:14,
2008-04-21 17:03:54 Description: Alan Roubik was a child protégé, having played his organ keyboard by ear at the age of 3. By 9 years of age, Alan performed his own compositions as well as classical and ragtime music (More) Alan Roubik was a child protégé, having played his organ keyboard by ear at the age of 3. By 9 years of age, Alan performed his own compositions as well as classical and ragtime music in numerous talent shows, competitions and fundraising events. At the age of 16, Alan sustained severe damage to the Ulnar nerve in his right arm, making it nearly impossible to move his fingers. Not only immobility, but tremendous pain prevented Alan from competing. He could no longer hold a fork or spoon in his right hand. Doctors suggested surgery, but Alan refused. He was determined to continue playing the piano, and he began to focus on creating compositions that suited his limited hand movements. Unbeknownst to Alan, he had been utilizing one form of music therapy that would eventually strengthen his hand and allow him full mobility to perform again. Ironically, Alan would later become most well known for his music therapy recordings. Over a period of nearly ten years since his accident, Alan had developed enough strength in his right hand to compose and perform more complex music. In fact, by 1992, Alan had plenty of original songs and the courage and confidence to produce his own record, entitled "Promises". The popularity of this recording lead to the production of the music video "Promises", which was an instant hit on such programs as MTV, Star TV Asia and MOR Music. Consequently, Alan is the only independent American recording artist to have his video featured on MTV, Star TV and PBS (Classic Arts Showcase). Since then, Alan has produced numerous popular recordings, music videos, a film score and commercials. He is considered as one of the worlds top "healing music" artist and producer. His first music therapy recording released in Japan in 1996, entitled Hado Music Series 1 (also known as The Four Seasons), fetched an unprecedented retail price of $100 per CD. Scientifically tested and endorsed by an independent research laboratory in Tokyo by Dr. Masaru Emoto, Alan's music is said to have the most healing properties of any modern music. He is the only non-Japanese recording artist to be inducted in the National Archives of Japan for his healing music. Today, Alan's music is used and recommended by doctors, professional athletes and trainers, health, fitness and yoga instructors, as well as spiritual healers. (Less)
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6,
00:42,
2008-04-21 17:06:55 Description: i dont know if you care or not,but i have another clip from this amasing Led Zeppelin concert,here is the link http://www.youtube.com/watch?v=dB94A_oSvL4 Led Zeppelin were an English rock band that (More) i dont know if you care or not,but i have another clip from this amasing Led Zeppelin concert,here is the link http://www.youtube.com/watch?v=dB94A_oSvL4 Led Zeppelin were an English rock band that formed in September 1968. Led Zeppelin consisted of Jimmy Page, Robert Plant, John Paul Jones and John Bonham. With their heavy, guitar-driven sound, Led Zeppelin are regarded as one of the first heavy metal bands. Their rock-infused interpretation of the blues, and folk genres also incorporated rockabilly, reggae, soul, funk, jazz, classical, Celtic, Indian, Arabic, pop, Latin, and country. The band did not release the popular songs from their albums as singles in the UK, as they preferred to develop the concept of album-oriented rock. Over 25 years after disbanding following Bonham's death in 1980, Led Zeppelin continue to be held in high regard for their artistic achievements, commercial success, and broad influence. The band have sold more than 300 million albums worldwide, including 109.5 million sales in the United States, and they are the only band to have had all their albums reach the U.S. Billboard Top 10. Led Zeppelin are ranked No. 1 on VH1's 100 Greatest Artists of Hard Rock. On September 12, 2007, it was confirmed during a press conference by promoter Harvey Goldsmith that the surviving members of Led Zeppelin will reunite for the Ahmet Ertegün tribute show at The O2 in London on December 10, 2007. (Less)
Channel: youtube Rate it: Rate:
10,
01:13,
2008-04-21 17:06:56 Description: i'm sorry i couldent find the full song of this they sung at their Reunion,but i have the next best thing.i have their full song in my videos here is the link (More) i'm sorry i couldent find the full song of this they sung at their Reunion,but i have the next best thing.i have their full song in my videos here is the link http://youtube.com/watch?v=tAiu9fjKEHc please subscribe for more classic rock!! also i have one more clip from the show right here,check it out,here is the link http://youtube.com/watch?v=jJKHVOhL-CQ Led Zeppelin were an English rock band that formed in September 1968. Led Zeppelin consisted of Jimmy Page, Robert Plant, John Paul Jones and John Bonham. With their heavy, guitar-driven sound, Led Zeppelin are regarded as one of the first heavy metal bands. Their rock-infused interpretation of the blues, and folk genres also incorporated rockabilly, reggae, soul, funk, jazz, classical, Celtic, Indian, Arabic, pop, Latin, and country. The band did not release the popular songs from their albums as singles in the UK, as they preferred to develop the concept of album-oriented rock. Over 25 years after disbanding following Bonham's death in 1980, Led Zeppelin continue to be held in high regard for their artistic achievements, commercial success, and broad influence. The band have sold more than 300 million albums worldwide, including 109.5 million sales in the United States, and they are the only band to have had all their albums reach the U.S. Billboard Top 10. Led Zeppelin are ranked No. 1 on VH1's 100 Greatest Artists of Hard Rock. On September 12, 2007, it was confirmed during a press conference by promoter Harvey Goldsmith that the surviving members of Led Zeppelin will reunite for the Ahmet Ertegün tribute show at The O2 in London on December 10, 2007. (Less)
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62,
02:23,
2008-04-22 08:56:43 Description: Are you all ready for this! All my guitars and amps in one 'Eye-Popping' slideshow for your enjoyment and envy. I've been painstakingly preparing to record a bunch of songs with (More) Are you all ready for this! All my guitars and amps in one 'Eye-Popping' slideshow for your enjoyment and envy. I've been painstakingly preparing to record a bunch of songs with various tunings so I needed to fix up some of my un-maintained guitars because they were out of intonation, adjustment and had some issues that needed tending to before recording with them. After spending the last 2 weeks overhauling my entire guitar collection, I decided to photograph them all against a green screen. I intended to make a slideshow, but didn't really foresee that I would put so much into it. I got a little carried away, but had a lot of fun perfecting my video editing skills. Below is the history behind my guitar collection followed by a highly detailed explanation of my maintenance regimen for recording or gigging. Instrument Biography: #1 Westone Dimension IV Electric I bought this from Central Music in 1989 when they were still in St. Catharines. It was my second guitar replacing a destroyed HONDO strat copy that my Mom bought for me at RJ's music in Niagara Falls when I was 16. #1 was the first guitar I played out live with (Aqua duck and Sam's to all you Niagara Regional's) and is really 'Fugly' up close. It has survived some serious torture...the worst being thrown down a flight of stairs (not in a case) when I was still dealing with anger issues. I tune this to Drop C# and it still plays like a beast of true Metal Mayhem. #2 Ibanez Proline Electric My old girlfriend Kim bought this for me in 1990 at Ostanek's Music St. Catharines and it became my main guitar as it was in better shape than my Westone and I could solo easier with this one. This guitar has a replacement tremolo (blocked) because the saddles were worn out and I won it from Ebay cheaper than buying new parts from Hoshino (Ibanez) as they rape you on replacement parts and music stores rarely stock what you need anyway. It is tuned Drop C#. The pickguard is just some mirrored stickers to change the look of it from the old red sticker that used to be on it...as seen in previous pictures on myspace. I will always value the smooth Ebony fingerboard on this guitar. #3 Ibanez RG 560 Electric I bought this guitar in 1992 from Ostanek's Music in St. Catharines. I could not believe my eyes seeing it hanging up high on the wall. I was the first to play it as it was just brought in. This guitar is the guitar that has seen the most live and studio action and became the feel and look that I desired in a guitar. It really needs a fret job too, but I'll get to that in good time. The Low-Pro Edge, in my opinion, is the best tremolo to ever exist on a guitar. It holds in tune (E-flat) after going apes on it and it still flutters likes butter. #4 Carvin AC175 Acoustic/Electric This guitar was/still is the most expensive instrument I ever purchased Direct from Carvin in 1994. It has a neck-through body with a deep purple glossy finish. It is just a beautiful guitar to look at and hold and a dream to play. It is really thin like an electric and the action is almost as good tuned up to E-flat using D' Addario bronze 80/20 .011 through .052 gauge. I can shred on it or strum folk songs. It's the ultimate in playable guitars. I'd probably buy more Carvin's but they are so expensive. #5 Fender DG -- 10LM Acoustic I bought this acoustic dreadnought in 1995 at Murphy's Audio in Niagara Falls to have a guitar to strum acoustically at parties as the Carvin was too thin to project any volume acoustically without using a PA system or amp. This is a lower end model that plays like shit. The action is high and it buzzes still. The intonation is off too and it just isn't worth modifying. You can't perfume shit you know. lol I am using it for an open string drone guitar in the key of B-flat...like a baritone with a .068 gauge string for the B and I had to file out the nut to handle the girth of the thicker strings. It has a good tone, so I'll keep it around for the time being. #6 Ibanez RG 550 Electric I bought this used from a pawn shop in Niagara Falls in 1996 and it was almost as nice to play as my blue RG 560. It is my only maple fingerboard in my collection. The paint job isn't original either...some fool did it with soft paint that dings up real easy. This is now tuned as a B-flat Baritone with the fatter gauge of strings I mentioned above. The trem is in good shape because I merged the best parts from my old Proline edge into this one. #7 Peavey Tracer Electric I bought this from Ostanek's Music in 2000 and it was originally glossy black with chips and dings in it. I sanded it down to bare wood and stained it hunter green...with a satin clear coating. This guitar is heavy and well made. I also cut out more of the lower horn to get up to the higher frets, but it still feels a little clunky on the 22nd fret. The Kahler Spyder Bridge is an excellent bridge comparable with a Floyd Rose or Edge, but the saddles are no longer available and mine is in rough shape. I decided to block this trem so it would stay in tune and forget finding a left-handed whammy bar for it. I tune this Drop-A-flat with the low A-flat being a .068 gauge string. I turn to these home made baritones when I'm frustrated with my 7-strings, as sometimes 7 strings are one too many, but I want the lowness. #8 ESP H-201 Electric I bought this at Steve's Music while in Montreal, Quebec on a trip for my Fiance Visa interview in 2001 with Patti. This guitar looks like a dream and plays nice. It doesn't have that heavy wood feel that I prefer like the Ibanez guitars...after doing some research on guitar synths, I realized that this was the most suitable guitar for the Roland GK-3 pickup as it had enough space between the bridge saddles and the bridge pickup. I still kind of regret the synth purchase as it plays absurdly unpredictable even after repeat setups on the guitar and GR-20. You'll never see me live with the Roland or this guitar for that reason...unless I write nursery rhyme simple melodies at grindingly slow tempos. lol I will try to program my sequencer this way just to see if that is more successful than playing it live. #9 Ibanez RG 470 Electric I bought this on Ebay used in 2003 as a backup for my other blue RG. It is a cheaper Korean knockoff of my Japan made RG 560. The tremolo is a lower grade than the low-pro edge. I actually drilled out the screw-in whammy bar socket and replaced it with the 'edge' 'push in style' of tremolo arm sockets because I despise a rattle-y loose sound from the screw in jobs. The playability however is better than the Japan made RG 560 because they revamped the neck to body joint to remove the struggle to nail those last high frets. I actually should swap tremolos with the other laser blue RG and make this my main guitar. #10 Ibanez RG 7420 Electric I bought this guitar on Ebay new in 2003 and dremeled out the pickup cavities to house these EMG 707's because they are deeper and longer than any stock guitar pickup for a seven string. They are basically bass humbuckers. I tune this guitar Drop-A-flat because I just can't play a 7-string tuned normal because I am so used to playing my 'fake' baritone tuning. With 7-strings, you are facing a lack of fingers to get all the notes you want to hear minus the ones you don't while chording. The answer is to drop the string and voila! You can play seven string chords without any foul notes slipping in there. #11 Ibanez RG 7420 Electric Déjà vu...I bought this guitar on Ebay used in 2003 to use as a backup to my first one above. I also 'dremeled out' the pickup cavities to house the beastly EMG 707 pickups. I tune this guitar Drop-A-flat as well. The only difference besides all the f-in paint chips on this one is I wood blocked the tremolo for tuning stability and proper intonation for recording my heavy riffs...as heard in this slideshow. #12 Brice V2 6-string Bass Electric I bought this bass new online from Rondo Music in 2003 because the price was right...$200. I wanted to try and record the bass to my tunes instead of programming on my Boss Dr. 660 drum machine. It is difficult to play this monster and it buzzes like a cheap instrument tends to do. I tune it an octave lower than my 7-string guitars so my fingerings are exactly the same. I only wish my hands were big enough to play this well. I still am debating buying EMG's for this as well because I think the pickups are weak or I might sell this and get a 5-string bass to get my hand around the neck better. #13 Valencia CG 190CE Nylon String Classical Guitar I bought this new online at Rondo Music on the same purchase date as the Bass because I'd save on shipping and it was only $100. I couldn't believe an acoustic-electric nylon string classical for one hundred bucks was a steal. You know the "you get what you pay for" theory? Well, its intonation BLOWS and won't hold tuning well and I had to file the nut and sand the saddle down to get the action within a playable tolerance. I'll have to see if I have a use for this in any future recordings...if I don't, it's gone! I don't see the point in having a guitar collection you can't use...right? #14 Carvin C850 Acoustic/Electric Dreadnought I bought this guitar direct from Carvin in 2004 as it was the most affordable thing for a Lefty in acoustics. I was debating shelling out $500 more to go to the customs like my purple guitar, but wanted a full-bodied sound and not just another thin-bodied shredder. This guitar really puts my Fender acoustic to shame on all levels. The intonation is decent (not perfect) and it is very playable. It is harder to riff out on this, so it is more of the strummer for my softer side. I do get up higher on the neck with the very roomy cutaway. It sounds amazing acoustically or through the on-board transducer pickup. Carvin is an amazing company. Well worth the money. #15 Ibanez Prestige I bought this guitar used on Ebay in 2006 to be my main Drop-C# guitar. I paid $500 and it came with the Prestige case and all. New, this guitar was pushing $900 so I got a good deal. The tremolo is stellar as it is the improved version of the Low-Pro Edge found on my RG 560. This tremolo is why the guitar costs $300 more than the cheaper models. It's worth it though. The tuning is perfect and the action is wicked! The neck is effortless to the last fret, so I just may write some better solos to make use of that. That's all I have so far in my collection, other than a parts bin that could almost make another guitar or two. Now onto the meticulously described process of how I got my instruments in shape to be record-worthy...and for some folks new to guitar playing, you will find some good tips and advice in there. All the non-musicians and pros can gloss over the next chapter. haha! My electric guitar maintenance process was basically this: Removed the old corroded strings and recycled them Lemon oiled the neck applied using an old toothbrush (Barry's Tip) Polished the frets with super-fine steel-wool while covering the fingerboard (Barry's Tip) Tightened every loose screw on the guitar (my OCD kicked into high gear) Dismantled the bridge, replacing stripped out parts and thoroughly cleaned with alcohol Put new strings on and completely setup guitar (see below for details) Polish the entire guitar and take a picture of it. The Finer Details: I Restrung with D'Addario XLS Light top/Heavy Bottom Strings .010-.013-.017-.030-.042-.052 on my E-flat/drop C# tuned guitars I used the same as above for my 7-string guitars with the addition of adding an Ernie Ball .068 gauge string for the low B-flat/Drop A-flat tunings (it's just cheaper that way than buying 7-string sets) ...besides I wanted fat momma's for strings for extra heavy tone. I also made a few 6-string guitars 'Fake' Baritone guitars by stringing the same as the 7-string guitars minus the high E string. That is how I recorded my Low-B songs in the studio before 7-strings became readily available for LEFTYS. I then adjusted the truss rod and bridge height for optimum action without BUZZ...I hate buzz and I play hard so my action has to be set high. Then I made sure all frets played without buzzing and didn't fret out on bends or whammy pull ups. Then I adjusted the pickup heights to give even volume over all the strings and between pickups Once the strings were stretched out (by pulling hard on them and retuning) I intonated them in the position I'd be recording in (seated) A few of my guitars tremolos are just so beat-up that they go out of tune when using them floating, so I blocked the tremolo with wood. They are now like fixed bridges with the added fine tuning precision. I removed the springs and claw out of the rear of the tremolo and cut two pieces of hard wood to wedge on either side of the tremolo block. This way you don't have to have strings on it to keep the bridge in place and you can bend notes like a hard tail without going flat on the ringing strings not bent at the same time. Don't get me wrong, I love whammy bar wanking, but not if the guitar tuning gets out of whack. The guitars that are still floating are that way because they held in tune within acceptable tolerances on my tuner when comparing a dive bomb recovery to a whammy bar pull-up. I should point out a few other tricks that I incorporated into my setups that I feel add to their sound quality: I used foam/sponge under the strings at the headstock end to prevent that horrible high-frequency ring from the headstock section of the strings that would resonate when playing hard and heavy. Next, on the guitars that have floating tremolos, I folded up about 2' of toilet paper and placed it between the tremolo springs and the plastic trem cover. This takes away that other awful high-frequency spring resonation and doesn't hinder the tuning stability. All this extra effort gives me a guitar that can play 'dead-silence' muted chord chops without the computer editing. It also takes away the feedback issues associated with sympathetic vibrations at high-volumes. I use EMG active pickups exclusively for their quiet performance and added low-frequency clarity. I can also get the cleanest-clean sound out of them as they don't color the tone of my amp with any gain or fuzz. I always wire these pickups myself and have to reverse all the wiring diagrams and pots so my knobs work properly (counter-clockwise for high volume) for me. Some guitars even needed dremeling to remove enough wood to fit them in place. Luckily I'm a handy guy with tools. As for the (x) in my pickup explanation: that means non-functional. I have no real use for the middle position pickup on any of my electric guitars because they get in my way of picking, so I lower that pickup out of the way. I generally leave a 'dummy' pickup in this position in my conversions to EMG as to not leave a gaping hole behind...seeing as active and passive are not compatible on the same guitar, without going into a separate signal path. There would be no point because the pickup is lowered too far from the strings to have any real affect anyway. Well, that's pretty much a wrap on what I wanted to explain to the vast unknown public and to my dear musician friends. I'll spare all of us the tedious task of an explanation for my live rig. Take care of yourself and cherish what you have in life, no matter how little or excessive it is. Aaron (Less)
Channel: youtubeTags: Alesis BBE Behringer Brice Carvin ESP Fender Furman Ibanez Marshall Peavey Rockman Rocktron Roland Valencia Westone
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2009-09-06 02:32:17 Description: The Move was een van de toonaangevende Britse rockgroepen van de jaren 1960 uit Birmingham, Engeland, en waren een van de populairste Britse bands op geen enkel succes in de VS. The Move were led by (More) The Move was een van de toonaangevende Britse rockgroepen van de jaren 1960 uit Birmingham, Engeland, en waren een van de populairste Britse bands op geen enkel succes in de VS. The Move were led by guitarist , singer and songwriter Roy Wood (although Chris "Ace" Kefford was their original leader), who composed all the group's UK singles and from 1968 also sang lead vocal on many of them (although Carl Wayne was their lead singer). The Move werden onder leiding van gitarist, zanger en songwriter Roy Wood (hoewel Chris "Ace" Kefford was hun oorspronkelijke leider), die al bestaat de groep Britse singles en vanaf 1968 ook zong lead vocal op velen van hen (hoewel Carl Wayne was hun lood zanger). They were extremely successful in Britain in their early career, scoring nine Top 20 UK singles in five years, but they were not as well known in the United States , mainly because they did not tour there until the latter part of their career. Zij waren zeer succesvol in Groot-Brittannië in het begin van hun loopbaan, scoren negen UK Top 20 singles in vijf jaar, maar ze waren niet zo goed bekend in de Verenigde Staten, voornamelijk omdat ze niet rondleiding daar tot het laatste deel van hun loopbaan. Nevertheless, they have been credited as an influence on many later groups on both sides of the Atlantic. Maar ze zijn gecrediteerd als een invloed op veel latere groepen aan beide zijden van de Atlantische Oceaan. The group evolved from several mid 1960s Birmingham based groups, including Carl Wayne and the Vikings, the Nightriders and the Mayfair Set. De groep is ontstaan uit meerdere medio 1960 Birmingham gebaseerd groepen, waaronder Carl Wayne en de Vikingen, de Nightriders en de Mayfair Set. Strongly influenced by The Beatles , Motown and the emerging American 'West Coast' sound, The Move quickly established a reputation as one of the most accomplished and exciting live acts of the period. Sterk beïnvloed door The Beatles, Motown en de opkomende Amerikaanse 'West Coast' geluid, The Move snel een reputatie opgebouwd als een van de meest volbracht en opwindende live-acts van de periode. The group's name seems to refer to the move various members of these bands made to form the group. De groep heeft de naam lijkt te verwijzen naar de beweging verschillende leden van deze bands geboekt om de groep. Beside Wood, the original members of The Move in 1966 were drummer Bev Bevan , bassist Chris "Ace" Kefford , vocalist Carl Wayne and guitarist Trevor Burton . Naast hout, de oorspronkelijke leden van de verhuizing in 1966 werden drummer Bev Bevan, bassist Chris "Ace" Kefford, zanger Carl Wayne en gitarist Trevor Burton. The concluding members in 1972 were the trio of Wood, Bevan and guitarist-pianist Jeff Lynne , who is commonly credited with transitioning the group into The Electric Light Orchestra . De sluiting van de leden in 1972 waren het trio van Hout, Bevan en gitarist-pianist Jeff Lynne, die gewoonlijk wordt gecrediteerd met de overgang van de groep in The Electric Light Orchestra. Contents Inhoud [show] * 1 History 1 Geschiedenis o 1.1 Legal issues 1.1 Juridische kwesties o 1.2 Continued success 1.2 Vervolg succes o 1.3 New directions 1.3 Nieuwe richtingen o 1.4 Final movements 1.4 Definitieve bewegingen o 1.5 Resurrection 1.5 Resurrection * 2 Discography 2 Discografie o 2.1 Singles 2.1 Singles o 2.2 Albums 2.2 Albums o 2.3 Compilations 2.3 Compilaties * 3 Lineup history 3 Lineup geschiedenis * 4 Cover versions of songs by The Move 4 Cover versies van nummers van The Move * 5 References 5 Referenties * 6 Notes 6 Opmerkingen * 7 External links 7 Externe links [ edit ] History [Bewerk] Geschiedenis Their early career was marked by a series of publicity stunts, high-profile media events and outrageous stage antics masterminded by their manager, the flamboyant Tony Secunda , such as Wayne's taking an axe to television sets, Cadillacs and busts of Adolf Hitler and Rhodesian leader Ian Smith . Hun vroege carrière werd gekenmerkt door een reeks van publiciteit stunts, high-profile media-evenementen en schandelijk stadium antics brein door hun manager, de flamboyante Tony Secunda, zoals Wayne's nemen een bijl aan televisietoestellen, Cadillacs en bustes van Adolf Hitler en Rhodesian leider Ian Smith. They played their first shows in early 1966, and became known for their elaborate vocal arrangements, and for their taste in soul music , and American West Coast bands The Beach Boys , the Byrds , Love and Moby Grape . Zij speelden hun eerste shows in het begin van 1966, en werd bekend om hun uitgebreide vocale regelingen, en voor hun smaak in soul muziek, en de Amerikaanse West Coast bands The Beach Boys, de BYRDS, Liefde en Moby Grape. Their manager, Secunda (who also managed Birmingham 's other major pop group of the day, The Moody Blues ), got them a weekly residency at London 's Marquee Club which had recently been vacated by The Who where they appeared dressed in gangster regalia, however the band members reportedly remained resident in the Midlands . Hun manager, Secunda (die ook in geslaagd Birmingham 'n andere grote pop groep van de dag, The Moody Blues), kreeg ze een wekelijkse residentie in Londen' s Marquee Club die onlangs is vrijgemaakt door de WHO, waar ze verscheen gekleed in gangster regalia , maar de bandleden berichten bleef ingezetene in de Midlands. They secured a production contract with independent record producer Denny Cordell ( Joe Cocker , Procol Harum ) but even this was turned into a media event by Secunda, who famously arranged for the band to sign their contracts on the back of a topless female model. Zij zekerheid een productie-contract met onafhankelijke platenmaatschappijen producent Denny Cordell (Joe Cocker, Procol Harum), maar zelfs dit werd omgezet in een media-evenement door Secunda, die de beroemde georganiseerd voor de band te ondertekenen hun contract op de achterkant van een topless vrouwelijk model. Roy Wood wrote their first single, " Night of Fear ", a Number 2 hit in the UK singles chart in January 1967 which began the Move's practice of musical quotation (in this case, the 1812 Overture by Tchaikovsky ). Roy Wood schreef hun eerste single, "Night of Fear", een nummer 2 hit in de UK singles chart in januari 1967, die begonnen met het verplaatsen van de praktijk van de muzikale koers (in dit geval de 1812 Overture van Tchaikovsky). Their second single, " I Can Hear the Grass Grow ", was another major hit, reaching Number 5 in the UK. Hun tweede single, "I Can Hear the Grass Grow", was een grote hit en bereikte Nummer 5 in de UK. [ edit ] Legal issues [Edit] Juridische kwesties " Flowers in the Rain " was the first track played on Radio 1 when it began broadcasting on 30 September 1967, introduced by Tony Blackburn . "Flowers in the Rain" was de eerste track afgespeeld op Radio 1 bij omroep begon op 30 september 1967, ingevoerd door Tony Blackburn. The song, which reached Number 2, was less guitar-oriented than their previous two singles, and featured an inventive woodwind arrangement by producer Tony Visconti . Het lied, dat bereikt Nummer 2 was minder gitaar-georiënteerd dan hun vorige twee singles en featured een uitvinderswerkzaamheid houtblazers regeling producent Tony Visconti. The promotional campaign for the song generated enormous controversy after Secunda produced a cartoon postcard to promote the single showing the Prime Minister of the United Kingdom , Harold Wilson , in bed with his secretary, Marcia Williams , with whom he was allegedly having an affair. De promotiecampagne voor het nummer gegenereerd enorme controverse na Secunda een cartoon briefkaart ter bevordering van de single met de premier van het Verenigd Koninkrijk, Harold Wilson, in bed met zijn secretaresse, Marcia Williams, met wie hij naar verluidt een affaire. Wilson sued The Move for libel . Wilson opgeroepen The Move voor smaad. The group lost the court case and had to pay all costs, with all royalties earned by the song, which otherwise would have belonged to composer Roy Wood, being awarded to charities of Wilson's choice, a ruling which has remained in force even after Wilson's death in 1995. De groep verloor de rechtszaak en moest betalen alle kosten, met alle royalty's verdiend door de song, die anders zouden hebben behoord tot componist Roy Wood, wordt gegund aan liefdadigheidsinstellingen van Wilson's keuze, een beslissing die van kracht is gebleven, ook na de dood van Wilson in 1995. For their fourth single, the group had planned to release "Cherry Blossom Clinic", a lighthearted song about the fantasies of a patient in a mental institution, backed by the satirical "Vote For Me". Voor hun vierde single, de groep van plan was om "Cherry Blossom Clinic", een luchthartige lied over de fantasieën van een patiënt in een mentale instelling, gesteund door de satirische "Stem voor mij". However, The Move had been thoroughly unnerved by their court experiences; they and the record company felt it unwise to pursue such a potentially controversial idea, and the single was shelved. Echter, de verhuis was grondig unnerved door hun rechter ervaringen; zij en de platenmaatschappij vond het onverstandig om een dergelijk potentieel controversieel idee, en de single werd geschoven. "Vote For Me" remained unreleased until it began to appear on retrospective collections from 1997 onwards, while "Cherry Blossom Clinic" became one of the tracks on their first LP , also called The Move . "Stem voor mij" onuitgegeven gebleven totdat hij begon te lijken op retrospectieve collecties vanaf 1997, terwijl "Cherry Blossom Clinic" werd een van de tracks op hun eerste LP, ook wel The Move. As a direct consequence of the lawsuit fiasco, The Move fired Tony Secunda as manager and hired Don Arden . Als direct gevolg van de rechtszaak fiasco, The Move ontslagen Tony Secunda als manager en gehuurde Don Arden. In a 2000 interview, Carl Wayne noted that there had always been a major split within the group about Secunda's tactics: "[Secunda] had the animals who would do what he wanted to do in Trevor, Ace, and me the fiery part of the stage act. I think Roy would obviously qualify this himself, but I believe he was slightly embarrassed by the image and the stunts but the rest of us werent.... We were always willing to be Secunda puppets." [ 1 ] In een interview 2000, Carl Wayne opgemerkt dat er sprake was altijd al een grote splitsing binnen de groep over Secunda de tactiek: "[Secunda] had de dieren die zou doen wat hij wilde doen in Trevor, Ace, en ik - de vurige deel van het podium optreden. Ik denk dat Roy zou uiteraard kwalificeren dit zelf, maar ik denk dat hij was enigszins beschaamd door het beeld en de stunts - maar de rest van ons waren niet .... We waren altijd bereid te zijn Secunda poppen. "[ 1] [ edit ] Continued success [Bewerk] Succes In March 1968 they returned to the charts in style with "Fire Brigade", another UK top three hit, and the first on which Roy Wood sang lead vocal. In maart 1968 is deze weer op de hitlijsten in stijl met "Brandweer", een andere Britse top drie hit, en de eerste die Roy Wood zong lead vocal. But a few weeks later, around the time of the LP's release, Kefford left the band due to increasing personal and musical differences and formed his own group, the Ace Kefford Stand, with Cozy Powell on drums. Maar een paar weken later, rond de tijd van de LP's release, Kefford verliet de band als gevolg van toenemende persoonlijke en muzikale meningsverschillen en vormde zijn eigen groep, de Ace Kefford Stand, met Cozy Powell op drums. The Move became a four-piece, with Burton switching to bass. The Move is een vier-delige, met Burton over te schakelen op bas. It was also during this line-up transition that the band first invited Jeff Lynne, a friend of Wood's, to join. Het was ook tijdens deze line-up overgang dat de band uitgenodigd eerste Jeff Lynne, een vriend van Wood's, om toe te treden. He declined at the time, still working toward success in his current band the Idle Race , another Birmingham based group. Hij weigerde op het moment nog steeds werken aan succes in zijn huidige band de Idle Race, een andere Birmingham gebaseerd groep. In mid-1968 their fifth single " Wild Tiger Woman ", a much heavier song acknowledging the group's love of Jimi Hendrix (Wood and Burton sang backing vocals on "You've Got Me Floating", on the Jimi Hendrix Experience 's second album, Axis: Bold as Love ), sold poorly and failed to make the top 50, a disaster as it followed four top five hits. Medio 1968 hun vijfde single "Wild Tiger Woman", een veel zwaardere nummer erkent de groep liefde van Jimi Hendrix (Hout en Burton zong backing vocals op 'You've Got Me Drijvende ", over de Jimi Hendrix Experience' s tweede album , Axis: Bold als Love), verkocht slecht en niet om de top 50, een ramp als deze gevolgd vier top vijf hits. The Move responded with their most commercial number yet, the evergreen " Blackberry Way " (produced by Jimmy Miller ), which topped the UK chart in February 1969. The Move gereageerd met hun meest commerciële nummer nog, de evergreen "Blackberry Way" (geproduceerd door Jimmy Miller), die aangevuld de Britse chart in februari 1969. This new, more easy-listening musical direction was the last straw for the increasingly disenchanted Burton, who wanted to work in a more hard rock / blues oriented style, and he left the group after an altercation on stage one evening with Bev Bevan . Deze nieuwe, gemakkelijk te luisteren muzikale richting was de laatste strohalm voor de steeds ontgoocheld Burton, die willen werken in een hard rock / blues georiënteerde stijl, en hij verliet de groep na een aanvaring op het podium een avond met Bev Bevan. At around this time it was rumoured in the music press that Hank Marvin of the recently disbanded Shadows had been invited to join The Move. Rond deze tijd was het gerucht in de muziek pers dat Hank Marvin van de onlangs ontbonden Shadows waren uitgenodigd om deel te nemen aan The Move. Some years later Wayne said that this was nothing more than a publicity stunt; however, Marvin himself, in an article in Melody Maker in 1973 and elsewhere, has maintained that he was definitely approached by Wood and invited to join The Move, but declined because The Move's schedule was too hectic for him. Enkele jaren later Wayne zei dat dit niets meer dan een publicitaire stunt, maar Marvin zelf, in een artikel in Melody Maker in 1973 en elders, heeft dat hij zeker benaderd door Hout en uitgenodigd om deel te nemen aan The Move, maar daalden omdat Het verplaatsen van de lijst was te hectisch voor hem. Burton was ultimately replaced by Rick Price , another veteran of several Birmingham rock groups. Burton werd uiteindelijk vervangen door Rick Price, een andere veteraan van verschillende Birmingham rock groepen. Ace Kefford and Trevor Burton struggled commercially after leaving The Move. Ace Kefford en Trevor Burton worstelde commercieel na het verlaten van The Move. Kefford recorded a solo album in 1968 after his departure, but it remained unreleased until 2003 when it appeared as "Ace The Face". Kefford boekte een solo-album in 1968 na zijn vertrek, maar het bleef onuitgebrachte tot 2003, toen bleek als "Ace The Face". Burton played bass with yet another Birmingham group, The Steve Gibbons Band , and later fronted his own blues group as lead guitarist. Burton speelde bas met nog een andere groep Birmingham, The Steve Gibbons Band, en later fronted zijn eigen blues-groep als lead gitarist. During this period Arden sold The Move's management contract to Peter Walsh. Gedurende deze periode Arden verkocht The Move de beheersovereenkomst aan Peter Walsh. Walsh, who specialized in cabaret acts, began booking the band into cabaret-style venues unsuitable for "power pop" rockers such as The Move, which further increased the tension between band leaders Carl Wayne and Roy Wood. Walsh, die gespecialiseerd is in cabaret handelingen, begon het boeken van de band in cabaret-stijl locaties ongeschikt voor "Power Pop" rockers als The Move, die nog verhoogd de spanning tussen band leiders Carl Wayne en Roy Wood. 1970's Shazam continued The Move's practice of musical quotation and of elaborately re-arranged versions of other performer's songs. 1970's Shazam vervolg De Verplaats de praktijk van de muzikale koers en uitvoerig opnieuw gearrangeerde versies van andere uitvoerder van de liedjes. "Hello Susie" (a Roy Wood composition), which was a top five hit for Amen Corner in 1969, quotes Booker T. Jones ' and Eddie Floyd 's "Big Bird," and the album includes a cover of a Tom Paxton song, " The Last Thing on My Mind ". "Hallo Susie" (een Roy Wood samenstelling), dat was een top vijf hit voor Amen Corner in 1969, citeert Booker T. Jones' en Eddie Floyd "s" Big Bird "en het album bevat een cover van Tom Paxton song , "The Last Thing On My Mind". It also included a slightly slower remake of "Cherry Blossom Clinic" that began in with a proto-metallic grind and finished with an acoustic guitar-dominated extended quotation from Johann Sebastian Bach 's "Joy". Het omvatte ook een iets trager remake van "Cherry Blossom Clinic" dat begon met een proto-metaalhoudende Grind en afgewerkt met een akoestische gitaar gedomineerde uitgebreid citaat van Johann Sebastian Bach 's "Joy". According to a 2000 interview, Wayne had devised a plan to revive The Move's fortunes by bringing Burton and Kefford back in. Well aware that Wood was intent on setting up his new orchestral rock project (which eventually became ELO), he suggested that Wood could concentrate on performing with his new band while continuing to write songs for The Move. Volgens een interview 2000, Wayne had bedacht een plan om het verplaatsen van de fortuinen door Burton en Kefford terug inch terdege van bewust dat hout is intentieverklaring betreffende de instelling van zijn nieuwe orkestrale rock project (die uiteindelijk werd ELO), stelde hij voor dat hout kunnen concentreren op het presteren met zijn nieuwe band, terwijl het schrijven van liedjes voor de verhuizing. However his suggestion was bluntly rejected by Wood, Bevan and Price, the other three members, so Wayne finally quit the group in January 1970. [ 2 ] He subsequently worked in a variety of musical ventures and appeared on TV and radio. Maar zijn suggestie was ronduit verworpen door Wood, Bevan en Price, de overige drie leden, dus Wayne uiteindelijk stoppen de groep in januari 1970. [2] Hij werkte vervolgens in diverse muzikale projecten en verscheen op tv en radio. In 2000 he replaced Allan Clarke as lead singer of The Hollies and performed with them as lead singer until his untimely death from cancer in 2004. In 2000 is hij vervangen Allan Clarke als lead zanger van The Hollies en speelde met hen op als lead zanger tot aan zijn vroegtijdige dood door kanker in 2004. [ edit ] New directions [Edit] Nieuwe richtingen Upon Wayne's departure, The Move promptly jettisoned Walsh as manager and returned to Arden. Na Wayne's vertrek, The Move snel jettisoned Walsh als manager en keerde terug naar Arden. Jeff Lynne joined for good, as Wood realized that he needed a second composer in the band to relieve the pressure on himself, and the band toured England with Arden's Black Sabbath . Jeff Lynne gevoegd voor een goede zaak, zoals Hout besefte dat hij nodig een tweede componist in de band om de druk op zichzelf, en de band toerde Engeland met Arden's Black Sabbath. From this period came the hard-rocking third album Looking On (1970), with all songs composed by Wood except for two by Lynne and one Bevan-penned track, "Turkish Tram Conductor Blues". Vanaf deze periode kwam de hard-rockende derde album Looking On (1970), met alle nummers gecomponeerd door houtverduurzaming, behalve voor twee door Lynne en een Bevan-penned track, "Turks Tram Dirigent Blues". The album included a #7 hit, Wood's " Brontosaurus ", which was the band's last recording for Regal Zonophone, but its harder-rock focus came as a surprise to many longtime fans. Het album bevatte een # 7 hit, Wood's "Brontosaurus", dat is de band de laatste opname voor Regal Zonophone, maar de hardere rock-aandacht kwam als een verrassing voor veel oude fans. The second single from the album, " When Alice Comes Back to the Farm ," failed to chart. De tweede single uit het album, "Als Alice komt terug naar de boerderij," niet grafiek. During the lengthy recording sessions for the next album, which included continuous overdubbing of new instruments by Wood and Lynne while the rest of the group idled, Rick Price left to form the band Mongrel, Price later joined Wood in Wizzard , and the shortlived Roy Wood's Wizzo Band , playing steel guitar for the latter, then went to work in musical management, and also formed the duo Price and Lee with Dianne Lee formerly of the duo Peters and Lee . Tijdens de langdurige opname sessies voor het volgende album, waarin continue overdubben van nieuwe instrumenten van hout en Lynne, terwijl de rest van de groep idled, Rick Prijs links om de band Mongrel, Price later trad Hout in Wizzard en de shortlived Roy Wood's Wizzo Band, gitaar spelen staal voor het laatste, dan ging aan het werk in de muzikale beheer, en vormde tevens de duo Prijs en Lee met Dianne Lee voorheen van het duo Peters en Lee. The remaining members -- Wood, Lynne and Bevan -- completed the final Move LP, the eclectic Message From The Country (1971). De overige leden - Wood, Lynne en Bevan - voltooid de laatste Verplaats LP, de eclectische Bericht uit het land (1971). Lynne's compositions displayed a strong Beatles and Bee Gees influence. Lynne composities vertoonde een sterke Beatles en de Bee Gees invloed. Wood's "Ben Crawley Steel Company" featured a Bev Bevan lead vocal that was obviously modeled on Johnny Cash , while Bevan's "Don't Mess Me Up" (sung by Wood) paid homage to Elvis Presley , complete with fake Jordanaires . Hout is "Ben Crawley Steel Company" featured een Bev Bevan leiden vocale dat was uiteraard gemodelleerd over Johnny Cash, terwijl Bevan's "Don't Mess Me Up '(gezongen door Wood) betaald hommage aan Elvis Presley, compleet met fake Jordanaires. In 2005 Bevan referred to this album as his least favorite from The Move. In 2005 Bevan bedoeld dit album als zijn minst favoriete uit The Move. The album was followed by two more Wood-penned hit singles, " Tonight " and " Chinatown ". Het album werd gevolgd door nog twee Hout-penned hit singles, "Tonight" en "Chinatown". For several television appearances behind these songs, The Move added two musicians who became members of the group after its transition into ELO: Bill Hunt (horns, winds, piano) and Richard Tandy (guitar, bass). Voor diverse televisie optredens achter deze nummers, The Move toegevoegd twee muzikanten die werden leden van de groep na de overgang naar ELO: Bill Hunt (hoorn, blazers, piano) en Richard Tandy (gitaar, bas). [ edit ] Final movements [Edit] Final bewegingen As the release of the first Electric Light Orchestra album drew near, The Move released what turned out to be a farewell disc, a "maxi-single" in 1972 consisting of " California Man ", " Ella James " (from Message ), and " Do Ya ." Aangezien de release van de eerste Electric Light Orchestra album vestigde de buurt, The Move vrijgegeven wat bleek een afscheid schijf, een "maxi-single" in 1972, bestaande uit "California Man", "Ella James" (Bericht uit), en "Do Ya". "California Man", a Number 7 UK hit featuring baritone saxophones, a double bass, and a riff borrowed from George Gershwin , was an affectionate tribute to Jerry Lee Lewis (the double bass had "Killer," Lewis' nickname, written on it) with Lynne and Wood trading verses and lines. "California Man", een nummer 7 UK hit featuring bariton saxofoon, een contrabas en een riff geleend van George Gershwin, was een eerbetoon aan affectieve Jerry Lee Lewis (de contrabas had "Killer", Lewis' bijnaam, geschreven op het ) met Lynne en Wood handel strofen en lijnen. It was one of the first records to kick off the 1950s rock and roll revival in the early 1970s in Britain . Het was een van de eerste records to kick off the 1950s rock en roll revival in de vroege jaren 1970 in Groot-Brittannië. Like all UK Move hits, it was a Roy Wood composition. Net als alle Britse Verplaats hits, het was een Roy Wood samenstelling. Meanwhile, Lynne's " Do Ya " became the Move's best-known song in the US ; it was The Move's only song to reach the US Billboard Hot 100 chart , if only the lower rungs (#93). Ondertussen, Lynne's "Do Ya" werd het verplaatsen van de bekendste nummer in de VS, het was The Move's enige nummer te bereiken de Amerikaanse Billboard Hot 100 chart, alleen de onderste treden (# 93). (The Electric Light Orchestra 's remake of " Do Ya ," recorded after Wood's departure, was a significant US hit in 1977). (The Electric Light Orchestra 's remake van "Do Ya," Wood opgenomen na het vertrek, was een belangrijke Amerikaanse hit in 1977). With the release of the album The Electric Light Orchestra , The Move completed its transition into ELO. Met de release van het album The Electric Light Orchestra, The Move afgesloten zijn overgang naar ELO. Wood and Lynne were joint leaders; it was Wood who played many of the album's classical instruments (such as cello and flute), with Lynne on piano, and articles of the time discussing the new group noted how Wood would repeatedly overdub until he had become more familiar with each instrument. Hout en Lynne waren gezamenlijke leiders; was het Hout die speelde veel van het album van de klassieke instrumenten (zoals cello en fluit), met Lynne op de piano, en de artikelen van de tijd de discussie over de nieuwe groep op gewezen hoe Hout zou herhaaldelijk overdub totdat hij was geworden meer vertrouwd zijn met elk instrument. The group recruited new musicians to recreate their sound live, retaining the Move trio at the center, and started recording tracks for a second album . De groep geworven nieuwe muzikanten om opnieuw hun gezond leven, het behoud van de Move trio in het midden, en begon tracks opnemen voor een tweede album. But after several disappointing live performances and growing disagreements about musical direction, Wood decided to leave and form his own band, catching Lynne by surprise. Maar na enkele teleurstellende optredens en groeiende onenigheid over de muzikale richting, Hout besloten te verlaten en de vorm zijn eigen band, vangen Lynne verrast. Wood's aspirations to combine rock and jazz elements, incorporating saxophone players such as himself, seemed at odds with the group's experimental classical style and Lynne's desire to keep touring until the band gelled. Wood's ambities te combineren rock en jazz-elementen, waarin saxofonisten zoals zelf, lijkt op gespannen voet met de groep experimentele klassieke stijl en Lynne de wens om de band toert tot gelled. Of the eleven ELO songs recorded by both Wood and Lynne, seven were Lynne compositions, which may also have contributed to Wood's unrest. ELO van de elf nummers opgenomen door beide Hout en Lynne, zeven werden Lynne composities, die ook kan hebben bijgedragen tot Wood's onrust. Wood released a solo album in 1973, Boulders , and went on to front the glam rock band Wizzard , while Lynne and Bevan kept touring and finally achieved massive success with The Electric Light Orchestra. Hout heeft een solo-album in 1973, keien, en ging aan de voorkant glam rock band Wizzard, terwijl Lynne en Bevan gehouden toeren en uiteindelijk bereikt enorme succes met The Electric Light Orchestra. Message from the Country , the band's highly acclaimed 1971 album, was remastered and released on the original labels, Harvest in the UK in 2005 and Capitol in the US in 2006. Bericht van het land, de band is zeer geprezen 1971 album, werd remastered en losgelaten op de oorspronkelijke etiketten, Harvest in het Verenigd Koninkrijk in 2005 en het Capitool in de VS in 2006. Although never as popular in the United States as they were in their native England , the Move were a seminal pop/rock group of the era, and are often cited as one of the main progenitors of power pop . Cheap Trick recorded a version of " California Man " on their Heaven Tonight LP, while Glen Matlock of the Sex Pistols admitted that one of the guitar riffs on " God Save The Queen " was inspired by that on "Fire Brigade". Hoewel nooit zo populair in de Verenigde Staten als ze in hun geboorteland Engeland, de Verplaats een rudimentaire pop / rock-groep van het tijdperk, en zijn vaak aangehaald als een van de belangrijkste progenitors van macht pop. Cheap Trick boekte een versie van " California Man "op hun Heaven Tonight LP, terwijl Glen Matlock van de Sex Pistols toegelaten dat een van de gitaar riffs op 'God Save The Queen" is geïnspireerd door dat van "Brandweer". In 1997, the single "Feel Too Good" was featured on the soundtrack of the American movie Boogie Nights , and in 2006 the single " Do Ya " was featured on a US TV commercial, giving The Move a long-overdue burst of success in America, which had been elusive during their existence. In 1997 werd de single "Feel Too Good" stond op de soundtrack van de Amerikaanse film Boogie Nights, en in 2006 de single "Do Ya" stond op een Amerikaanse TV-commercial, waarbij The Move een lange achterstallig uiteenspatten van succes in Amerika, die was ongrijpbaar tijdens hun bestaan. [ edit ] Resurrection [Edit] Resurrection In 2004, after the death of Carl Wayne, Bev Bevan formed The Bev Bevan Band, soon renamed as Bev Bevan's Move (without any other past members) to capitalize on The Move's continuing reputation and belated success. In 2004, na de dood van Carl Wayne, Bev Bevan vormen de Bev Bevan Band, binnenkort omgedoopt tot Bev Bevan's Move (zonder andere vroegere leden) te kapitaliseren op de Beweeg de aanhoudende reputatie en late succes. Bevan recruited bassist Phil Tree and former ELO Part II colleagues, guitarist Phil Bates and keyboard player Neil Lockwood, to play a set comprising mostly The Move classics on tour. Bevan aangeworven bassist Phil Tree en voormalige ELO, deel II, collega's, gitarist Phil Bates en keyboard speler Neil Lockwood, spelen een set bestaande uit meestal The Move klassiekers op tournee. Roy Wood has expressed extreme displeasure at this development [ 3 ] [ 4 ] . Roy Wood extreme ongenoegen heeft geuit op deze ontwikkeling [3] [4]. Former Move guitarist Trevor Burton joined the band on occasion during 2006 and joined permanently in 2007. Voormalig Verplaats gitarist Trevor Burton trad de band op tijdens de loop van 2006 en trad in 2007 definitief. Bates departed in July 2007 to rejoin ELO Part II, now renamed The Orchestra and was replaced with Gordon Healer. Bates vertrok in juli 2007 tot en weer ELO deel II, nu omgedoopt tot Het orkest en werd vervangen door Gordon Healer. The Autumn 2007 tour is billed as "The Move featuring Trevor Burton and Bev Bevan" [ 5 ] . De Herfst 2007 tour wordt gefactureerd als "The Move featuring Trevor Burton en Bev Bevan" [5]. (Less)
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