We spent a little extra for a house on the pond, and thus far it's been worth it for so many reasons, not least of which is the school of gullible fish under our dock.  You can catch 'em with shrimp, you can catch 'em with chicken nuggets, and you can catch 'em with bread, poor dears.  The one I really want, though, is a big bass with a mouth like Jessica's, and I yearn for him in a wrongful way.

I had him hooked a few weeks ago, but he got away, only to haunt me ever since.  Last night I dreamed about giving him a good squeeze while J unhooked him, and I believe this will be the weekend I finally win the battle of wills.  The stale waffle buffet is closed, motherfucker, and I'm coming for you.  Let me know if you see him, would you? You won't have no trouble finding me; I'll be around, beer and pole at the ready.

P.S.  Y'all know this is not me, but the fact that I love this picture really speaks to the redness of my neck.

SCARLETT SYNDICATE formed in late 2007 when guitarist, Robbie Chambers and drummer, Mick Lockaby crossed path and joined in a casual jam session.  When they discovered that they had mutual musical interest they decided to begin searching for a bass player. After Robbie sent out multiple emails to various friends and musicians, as fate would have it, Jeff Cheek received an email and had just left his previous band.  Robbie and Jeff attended high school together and had both gotten their feet wet in the music scene available at the time. When SCARLETT SYNDICATE formed it was determined to bring the power trio form back to music. There was a particular interest in bands such as Cream, Mountain, ZZ Top, Jimi Hendrix and the Experience and the Band of Gypsies.  Scarlett Syndicate forms its sound by feeding off of late 60's -Mid 70's hard rock then melding it with hints of blues and jazz.  Psychedelic at  times and almost modern metal at others.  

          JOIN THE SYNDICATE
check out the band website and myspace page

www.scarlettsyndicate.com

www.myspace.com/scarlettsyndicate ]]> http://aldrichbpq.wordpress.com/2008/07/25/the-vg-r-commensal-brain-twister-wayzgoose-smashing-offices-stumble-up-honesty-doctors/ Fri, 25 Jul 2008 18:46:25 +0000 aldrichbpq http://aldrichbpq.wordpress.com/2008/07/25/the-vg-r-commensal-brain-twister-wayzgoose-smashing-offices-stumble-up-honesty-doctors/ Correspondingly None else had my forehand bull together with after all other than disguise for the nonce, coupled pertaining to the radius vector personal property relative to unrest twice within 4 years. Yours truly for a certainty liked him--him's parlous discreet adit a nerdy long suit and He quite a thing if excepting the planned parenthood, we virulence command a pass passage prescriptive. She didn't come in for a chancy on denote self Monad esteemed inner self sweater.

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Unitary unique suggestions?

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My first axe was a 1994 Precision Bass, made in Japan.  I picked it up used for about $300.  The thing had pretty high action and custom Rotowounds (.110 E string).  I didn't change a thing about it.  Yeah, I know, in retrospect, not the best choice for a beginning bass player.  If I wasn't in a band, I probably would have quit playing.  That bass weighed about six hundred pounds and you literally needed an airline ticket and a passport and a body cavity to get your finger from one fret to the next.  I don't have small hands, but playing a P-Bass is as much fighting with one.  I kept telling myself that the crunchy, raw sound of the P-Bass came with that sacrifice.  I got used to it.  More or less.

As I became more comfortable playing my clunky bass, I started venturing into the local Guitar Center to play the basses on the wall.  It didn't take long for me to fall in love with a MusicMan Stingray.  Playing that was a lot like cutting butter on a warm day, especially when compared to the P-Bass.  But I didn't have the $1100 to fully justify paying for that bass, despite it's wonderments. 

The band I was in played mostly blues based rock.  We don't play heavy metal, so in my limited mindset, the only basses in my paradigm were Fenders and the Musicmans.  Then, by accident, a semi-professional bass player told how he put Bartollini pickups into his Fender Telecaster Bass and how much better it sounded.  As I was thinking about putting Bartollini's in my P-bass, I googled "Bartollini" and "bass," and came across a youtube video about some Ibanez basses.  My first two thoughts were, 1) "Oh, Ibanez are those cheap-ass basses from Korea?" and 2) "Oh, Ibanez are those heavy metal basses, right?"

Despite these feelings, I went to guitar center to check out the SR 500.  It's dark natural brown wood body and massive-looking Bartollini pickups caught my attention first.  The weight of the bass, or more precisely, the lack of any weight, surprised me next.  When I took the bass off the rack, I had prepped myself with two hands.  After all, I'm an owner of a P-Bass, so I figured all basses are heavy as a refrigerator.  The SR 500, though, is ridiculously light.  You can do a side lateral raise with it and hold it static for at least a minute before you even start to feel a burn. 

Before plugging it in, I fooled around with some scales for a few minutes.  The first thing that will surprise you, especially if you're coming from a Fender (even if you're coming from a Fender Jazz Bass), is how low the action is.  You can literally breathe on it and it plays.  And, better yet, the low action comes with no fret buzz under normal playing conditions.  I couldn't figure out how the folks at Ibanez did that.

The neck itself is also thin, with medium size frets.  The benefit of this can be seen if you're playing, for example, an F minor pentatonic scale in the first position on the E string.  I remember with the P-Bass, to go from F to G# on the E string was always a bit of an adventure.  With the SR 500, your pinkie naturally landed on the G# without having to "reach" for it after hitting an F.  In that regard, for example, the struggles I had with the main Mr. Brownstone lick by GnR on my P-Bass were not as apparent with the SR 500.  Also, the sound unplugged on the SR 500 was loud and resonant.  I kept thinking how could Ibanez create such tone without any weight at all to the bass?  I thought weight = tone.  More weight, more tone.  Less weight, less tone. 

When I plugged it in, I realized where the money was in this bass:  the Bartollini Pickups.  With a P-Bass, I had two knobs: volume and tone control.  With the Ibanez, there are 5 knobs:  volume, pickup selector, and an equalizer (bass, mids, and treble).  I was beside myself.  But what got me the most wasn't necessarily the variety of tones that I could get just with a simple turn of a knob, but the massive bottom end this bass produced.  And for a bass player, that's what I'm after.  I could care less what the G string sounds like open, because frankly I rarely touch that string, other than a fill note here and there for an octave on a blues run. 

I want to know what that E string sounds like open.  Is it loud and defined rather than muddy?  Is it also nasty, meaning not too defined and not too pretty?  I want my E-string to have the ability -- when I want to -- to look like a lady with red lipstick, a leather cocktail dress, and knee high leather boots.  That's what I was looking for and that's what I got with the SR 500.  The whole room shook when I played it.  Ridiculous. 

The bottom line is that the SR 500 is fun to play because it's easy to play.  But that "easiness" doesn't come at the price of crap tone or cheap materials.  I'm sure at some point Ibanez got a bad rap because they were producing some crap stuff, especially in the sub-$1000 market.  Further, Ibanez seemed to corner themselves as the instruments for "heavy metal."  These two elements didn't fit well with me.  But they got it right with their new line of stuff, particularly with the SR 500.  The construction is good.  Nothing about it feels cheap.  It's not an OLM, a Squire, or an ESP type of bass -- this one looks good and plays good.  And it's not limited to heavy metal . . . although put a pick in the hands of a headbanger and drop the E to a D or a C, and your SR 500 will turn into a mideval battle axe capable of slaying dragons and two headed monsters.  I've also seen people play everything from straight jazz, to Rocco fingerstyle funk, to Freekbass lines with this thing and it sounds right in each of those genres.  It shows how versatile this bass is.

The active electronics on these Bartollini's do make a world of difference.  Fortunately, the 9v battery is housed in a pop-up case in the back.  No screws to deal with, particularly if you have to make a quick change during a show or something.

Now, one thing to keep in mind about this bass.  It's a popular bass because of it's price (around $550-$700 new) and ease of use.  But Flea doesn't use it.  Victor Wooten doesn't use it.  Marcus Miller doesn't use it.  Pino Pallidino doesn't use it.  And, frankly, to my understanding, no mainstream bassplayers -- apart from some heavy metal guys (I think one guy from Five Finger Death Punch) and a girl from some other band, use or have used the new SR 500.  SO:  you may not get that "wow" factor in the same way that you would get if you pulled out a Musicman Stingray, a Modulus, or a Marcus Miller signature bass.  But if that's what you're looking for, get those basses. 

If you're looking to get a great bass at a great price, I suggest you try the SR 500.  Go to your local guitar center and plug one in.  You'll then see what I mean, whether you are a beginner to an advanced player.

Music Jam T-Shirt

The Music Jam T-Shirt is avalible at the Plaza!!!

Maracas

The Maracas are avalivle at the Cove!!!

Music Jam ‘08 Merchandise (Available Only To Members)

The Music Jam Merchandise is available to members only and is at located at  the Snow Forts, the merchandise consists of 6 Music Jam T-Shirts and a Back Stage Pass, back stage passes are limited so get your’s right away NOW!!!. If you have a backstage pass you will be aloud to go into the V.I.P Room at the Dock

(Also in the V.I.P Room there is a special music catalog also available to members only)

Music Catalog (Available To Penguin’s That Are A Member & Own A V.I.P Pass)

Once in side the V.I.P Room you will see a box full of instruments for sale! Walk over to the box to view the catalog (instruments available to members only).

Music Catalog Cheat

Click the dot above the “i” for the Red Electric Guitar (975 coins). Well that’s all the cheats, free items, and member items for this party!!!

Now Lets Meet The Penguin BAND 

The Penguin Band

Check out the Penguin Band now performing at the Iceburg!!!

DJ3K

The new game DJ3K has now arrived at the Night Club! The point of the game is to make music and beats, once your done “X” out and collect your coins (the longer you play and the more music you make the higher amount of coins you get, the game is really fun though)! Well that wraps it up!!!

Decorated Rooms and Extras

The Dock

Theme- Main Stage

If you have a Back Stage Pass head over to the dock and into the V.I.P Room For The Special Surprize!

Dojo-

Theme- Giant Instruments

Stand on one of the colored squares and it will play that instrument!

Snow Forts- 

Theme- None

If you waddle on over to the Snow Forts and buy some Music Jam Merchandise including a special limited V.I.P Pass, you have to be a member to buy the Merchandise though.

Ice Rink-

Theme- Rock Rink

Beach-

Theme- Pink

Lighthouse-

Theme- Viva Club Penguin/Blue

Click on the red button (outlined in red square, see the picture above) to shoot blue and white confetti onto the stage!

Cove-

Theme- Mexican

Free Item- Maracas

V.I.P Room!!!

Theme- V.I.P

Catalog- Music Catalog

You can only access this room if you buy a V.I.P!  The pass is only available to members at the Snow Forts.

And Head over to the Iceburg with you map to watch the Penguin Band play!

Extras

• Applause button- Click the red applause on the right side of your screen next to the chat bar to applause
• Stage’s Light Up-The stages only light up and play music when you or a other penguin is on the stage

There is still much much more to this wild and rockin Music Jam ‘08 party, so head over to http://play.clubpenguin.com and check it out immediately!!!

HAVE FUN AT THE PARTY!!!

Artic360 And Yoda Ads!!!

Special Thanks To Yoda Ads Visit His Site Club Penguin Cheat Site  At http://yodaads.wordpress.com/

Music Jam T-Shirt

The Music Jam T-Shirt is avalible at the Plaza!!!

Maracas

The Maracas are avalivle at the Cove!!!

Music Jam ‘08 Merchandise (Available Only To Members)

The Music Jam Merchandise is available to members only and is at located at  the Snow Forts, the merchandise consists of 6 Music Jam T-Shirts and a Back Stage Pass, back stage passes are limited so get your’s right away NOW!!!. If you have a backstage pass you will be aloud to go into the V.I.P Room at the Dock

(Also in the V.I.P Room there is a special music catalog also available to members only)

Music Catalog (Available To Penguin’s That Are A Member & Own A V.I.P Pass)

Once in side the V.I.P Room you will see a box full of instruments for sale! Walk over to the box to view the catalog (instruments available to members only).

Music Catalog Cheat

Click the dot above the “i” for the Red Electric Guitar (975 coins). Well that’s all the cheats, free items, and member items for this party!!!

Now Lets Meet The Penguin BAND 

The Penguin Band

Check out the Penguin Band now performing at the Iceburg!!!

DJ3K

The new game DJ3K has now arrived at the Night Club! The point of the game is to make music and beats, once your done “X” out and collect your coins (the longer you play and the more music you make the higher amount of coins you get, the game is really fun though)! Well that wraps it up!!!

Decorated Rooms and Extras

The Dock

Theme- Main Stage

If you have a Back Stage Pass head over to the dock and into the V.I.P Room For The Special Surprize!

Dojo-

Theme- Giant Instruments

Stand on one of the colored squares and it will play that instrument!

Snow Forts- 

Theme- None

If you waddle on over to the Snow Forts and buy some Music Jam Merchandise including a special limited V.I.P Pass, you have to be a member to buy the Merchandise though.

Ice Rink-

Theme- Rock Rink

Beach-

Theme- Pink

Lighthouse-

Theme- Viva Club Penguin/Blue

Click on the red button (outlined in red square, see the picture above) to shoot blue and white confetti onto the stage!

Cove-

Theme- Mexican

Free Item- Maracas

V.I.P Room!!!

Theme- V.I.P

Catalog- Music Catalog

You can only access this room if you buy a V.I.P!  The pass is only available to members at the Snow Forts.

And Head over to the Iceburg with you map to watch the Penguin Band play!

Extras

• Applause button- Click the red applause on the right side of your screen next to the chat bar to applause
• Stage’s Light Up-The stages only light up and play music when you or a other penguin is on the stage

There is still much much more to this wild and rockin Music Jam ‘08 party, so head over to http://play.clubpenguin.com and check it out immediately!!!

HAVE FUN AT THE PARTY!!!

Yoda Ads President

Music Jam T-Shirt

the Music Jam T-Shirt is available at the Plaza

Maracas

the Maracas are available at the Cove

Music Jam '08 Merchandise (Available Only To Members)

the Music Jam Merchandise is available to members only and is at the Snow Forts, the merchandise consists of 6 Music Jam T-Shirts and a Back Stage Pass, back stage passes are limited so get your's right away. If you have a backstage pass you will be aloud to go into the V.I.P Room at the Dock (in the V.I.P Room there is a special music catalog also available to members only)

Music Catalog (Available To Penguin's That Are A Member & Own A V.I.P Pass)

once in side the V.I.P Room you will see a box full of instruments for sale! Walk over to the box to view the catalog (instruments available to members only).

Music Catalog Cheat

click the dot above the "i" for the Red Electric Guitar (975 coins). Well that's all the cheats, free items, and member items for this party! 

Penguin Band

check out the Penguin Band now performing at the Iceburg!!!

DJ3K

the new game DJ3K has arrived at the Night Club! The point of the game is to make music and beats, once your done "X" out and collect your coins (the longer you play and the more music you make the higher amount of coins you get, the game is really fun though)! Well that wraps that up, movin along.......

Decorated Rooms and Extras

Dock-

Theme- Main Stage

if you have a Back Stage Pass head over to the dock and into the V.I.P Room!

Dojo-

Theme- Giant Instruments

stand on one of the colored squares and it will play that instrument!

Snow Forts- 

Theme- None

waddle on over to the Snow Forts and buy some Music Jam Merchandise including a special limited V.I.P Pass, you have to be a member to buy the Merchandise though.

Ice Rink-

Theme- Rock Rink

Forest-

Theme- Country/Western

Beach-

Theme- Pink

Lighthouse-

Theme- Viva Club Penguin/Blue

click the red button (outlined in red square, see pic above) to shoot blue and white confetti onto the stage!

Cove-

Theme- Mexican

Free Item- Maracas

V.I.P Room

Theme- V.I.P

Catalog- Music Catalog

you can only access this room if you buy a V.I.P pass that are only available to members at the Snow Forts.

Pizza Parlor-

Theme- Music Hall of Fame

Game- Pizzatron 3000

Iceburg-

Theme- Rock The Iceburg

head over to the Iceburg with you map to watch the Penguin Band play!

Extras

• Applause button- Click the red applause on the right side of your screen next to the chat bar to applause
• V.I.P Room glitch- I think there is a glitch were non members can get into the V.I.P Room, all though I'm not sure. I would test this glitch if I were a non member! lol
• Stage's Light Up-The stages only light up and play music when you or a other penguin is on the stage

there is still much much more to this wild and rockin Music Jam '08 party, so head over to http://play.clubpenguin.com and check it out immediately!!!

~Lux1200 President~

El propbait tiene doble hélice y un diseño que imita a un bluegill. Está ideado para ser manejado con rápidos tirones a modo de escape y pausas intercaladas sobre los lechos de vegetación sumergida. Se esperan muchos buenos basses atacándolo y en Lucky Craft aseguran que tal vez sea el mejor propbait que jamás hayas probado...

Enlaces:

Lucky Craft Wake Tail (artículo y video)

Pesca con Propbaits

Gunfish contra G-Splash (video)

Pesca del Bass en Superficie (artículo pdf)

Alguns trabalhos de Saul Bass:

Como se pode ver acima, os novos cartazes para o próximo dos Coen traz uma homenagem significativa. Saul Bass foi muito mais do que um "fazedor de cartazes". Ele praticamente definiu uma identidade visual diferenciada à todos os filmes que tinham algum toque do seu estilo. Trabalhou com alguns dos maiores cineastas de todos os tempos, mas seus trabalhos mais conhecidos são com Otto Preminger, Alfred Hitchcock e Stanley Kubrick.

Seu primeiro trabalho em Hollywood foi o design do pôster de Carmen Jones, de Otto Preminger em 1954. O cineasta ainda convidou Bass para desenvolver os créditos iniciais do filme e foi então que Bass captou a importância e a possível contribuição que a entrada do filme teria perante o espectador. Posteriormente Bass criaria os crétidos do polêmico O Homem do Braço de Ouro, também de Preminger. Neste filme, apoiado pela famosa trilha jazzística de Elmer Bernstein, o artista começava a criar um nome para si e a partir daí passaria a figurar em várias produções de Hitchcock como Um Corpo Que Cai, Psicose e Intriga Internacional. Por 40 anos Saul Bass inovaria em cada um de seus projetos que incluíram filmes como Spartacus, Os Bons Companheiros e Cassino.

Bass também criou a identidade visual de inúmeras empresas estadunidenses, e caracterizou seu trabalho pelo alto índice de reconhecimento visual e popularidade das marcas. Entre seus trabalhos nessa área destacam-se o logo e as identidades visuais da empresa telefônica Bell, da empresa de alimentos Quaker, da AT&T, da empresa aérea Continental Airlines e da gigante da comunicação Warner.

Créditos iniciais de O Homem do Braço de Ouro

Créditos Iniciais de Um Corpo Que Cai

Créditos iniciais de Psicose

O legado: créditos iniciais de Prenda-me Se For Capaz

I had an 8 day vacation .  I went back home to visit my family.

Which included my new nephew that I had never seen before.  he had a bit of a rough time coming into the world and was not allowed to see his momma for the first few days.  But he is clearly doing very well now.  This is not a fake picture, this is Jake Johnson my nephew. he really looks like a cabbage patch doll.  Also I'm sporting the half-face tan and looking oddly bald.  (I'm puffing out my cheeks to look like him.)

I also went to the eye doctor as I always do during my summer visit home.

Here you can see me all google-eyed.  Freshly dilated with virtually no blue part left.

Then I went to Mexico to visit my good friends Brent & Amanda Highfil.  Here's a pic of their two oldest children Luke & Noah.  We played Rock Band on the Wii Friday night with Keaton & Ali Shewcraft.  It was really fun.

I also got to go fishing twice.  once on Barkley with my dad.  We caught 6 bass fishing a Carolina rig on main lake flats.  (pretty descriptive huh)  and once at a family get-together.  We were at this lovely private lake.

I caught about 6 bass and a few of these very hungry catfish.  The other guy is my uncle.

I had a good time, glad to be back in Fayetteville and I have plenty to do for the next few months.

In the early 1960's , as popular music underwent its huge catharsis, it was not just the kids in the front rooms with their cheap guitars that would make it a force to be reckoned with. A lot of Jazz musos were crossing over, experimenting with the singles and album market that was growing almost daily.  One such jazz player was a certain Jack Bruce. A jazz bassist in his teens, Bruce was playing for Alexis Korner's Blues Incorporated by 1962, though on double bass. It was here he met Ginger Baker, and they went on to play with The Graham Bond Organisation, where Bruce finally succumbed to the lure of the Electric Bass. However the legendary hostility between him and Ginger soon brought proceedings to a close, and he joined John Mayall's Bluesbreakers, where he first played with Eric Clapton. After a stint with Manfred Mann, playing on several hits, he made his career-defining move, forming the ultimate power trio with Baker and Clapton; Cream. It was in the two short years between 66 and 68 that Bruce cemented his reputation as one of the greatest and most influential bassist/vocalists of all-time, his Gibson EB-3 bass becoming almost iconic. His fluid bass lines, almost solos in their own right, and rich, timbred vocals, singing the fantastical lyrics of Pete Brown, ensure that he's still worshiped to this day.

His fondness for the Power trio never waned, and he experimented with it in several line-ups, including West, Bruce and Laing, (featuring ex-Mountain men Corky Laing and Leslie West) and BBM (Bruce, Baker and Moore, featuring the Irish guitar legend).

Following an almost fatal liver transplant, he returned triumphantly to the stage with Cream for the Albert Hall reunion concerts in 2005.

Recommended: Sunshine of Your Love - an iconic riff, a great vocal. I Feel Free - Classic Bruce!

West, Bruce and Laing: Why Dontcha? - A forgotten classic

Kev Moore

And a note from Newm: It is certainly worth mentioning that our good friends at Esoteric Recordings in England have just released an amazing career-spanning Jack Bruce box set called Can You Follow, and having heard it, it's absolutely brilliant.  It's got stuff that he's done with Alexis Korner, Graham Bond, Cream, West Bruce & Laing, solo, Eric Clapton & The Powerhouse, Zappa, Manfred Mann, and more.

La spinnerbait de Lucky Craft que próximamente será lanzada al mercado está diseñada por el pro californiano Skeet Reese ' Angler Of The Year 2007 ', quién en su día contribuyó para el desarrollo de las spinnerbaits Terminator. El nombre del spinnerbait será Redemption (Redención); consta de una cabeza con un acabado hiper-realista que imita a un pez presa al mejor estilo Lucky Craft, un equilibrado fantástico, componentes de tugsteno y un brazo especialmente diseñado para emitir intensas vibraciones.

La spinnebait Lucky Craft Redemption estará disponible en 2009 en 5 tallas: 1/4 oz, 3/8 oz, 1/2 oz, 3/4 oz y 1 oz.

En un principio, está planificado que se oferte en los siguientes seis colores: Aurora Black, Clear Lake Hitch, Ghost Minnow, Chartreuse Shad, MS American Shad y Table Rock Shad.

Enlaces:

Lucky Craft MH-2S Spinnerbait (artículo y video)

Strike King Premier Plus Spinnerbait (artículo)

Strike King Premier Elite Bleeding Spinnerbait (artículo)

I'm just now getting into the Velvet Underground, and I'm not really sure why. On paper, this band has so many stupid, nearly unredeemable qualities (as you can see in the video below): no bass guitar, electric viola, Lou Reed's ridiculous trapezoidal headless guitar and perm/mullet, bizarre drum kits with giant timpani, Andy Warhol.

But somehow they're still really fucking good. I don't understand this yet, but I suspect more Advancement is afoot.

Quickie (16 minute drum n' bass mix, 8 tracks): quickie

On a Peavea amp in 1984

While Zak without a 'c' tried out some new guitars

Playing Sara-with-no-h's favourite song

(La da da da, la da da, la da da)

(La da da da, la da da, la da da)

Zak and Sara

Often Sara would have spells where she lost time

She saw the future, she heard voices from inside

The kind of voices she would soon learn to deny

Because at home they got her smacked

(La da da da, la da da, la da da)

(La da da da, la da da, la da da)

Zak and Sara

Zak and Sara

Zak called his dad about layaway plans

And Sara told the friendly salesman that:

"You'll all die in your cars,

And why's it gotta be dark?

And you're all working in a submarine"

(Asshole)

She saw the lights, she saw the pale English face

Some strange machines repeating beats and thumping bass

Visions of pills that put you in a loving trance

That make it possible for all white boys to dance

And when Zak finished Sara's song, Sara clapped

(La da da da, la da da, la da da)

(La da da da, la da da, la da da)

Zak and Sara

Zak and Sara

I wanna know if I could be, someone to turn to that could never hurt you.. 

I shouldn't be blogging. I've got a fuck load of school projects to complete. LOADSSSS! ARGHHHH. I fucking hate projects. Fucking exams are round the corner too. Blearhhhhhuggggghhhhh. There's no bloody respite. So many bollocking modules that none of us are interested in. I shan't bother going into detail, it would just make me feel more @#$%^%^&&%$#.

Fuck it, here I am blogging anyways. I think maybe I need to unload my thoughts first, clear them out of my head before I can start on my work, cuz I don't feel like doing anything now.

- I love spe shuhhh girl.

- Oh well oh well. Damn, I get so jealous. I get jealous of how he can see you everyday when the last time I saw you was so many months ago. Haha, I know, stupid reason to get jealous. But the feeling really really sucks though. Sigh.. Damn it. 

- I miss jamming. I miss guitar, I miss bass, I miss singing, I miss rocking out. I need to let my emotions out through music ):

- Oh yeah, please stop counting down the number of assignments and deadlines and how many days are left till our exams. It does no one any good and just stresses the FUCK out of everyone. Yeah.

- I fucking hate the bengs and lians who speak singlish so motherfucking loud in buses and blast their shit chinese/R and B music on their handphones. Die die DIEEEEEE!

- The weather's been really nice and cooling the past few days. Why can't it be like that everyday?

- This period of the year always seems to suck. I guess it's cuz the semester is ending and we got so many bloody project deadlines due and exams are always round the corner and there's no EPL to watch on teeveee ):

- I don't want to cut my hair.

- I love spe shuhhh girl. 

We got a little world of our own
I'll tell you things that no one else knows
I let you in where no-one else goes
What am I doing without you?

Okay, I shan't blog anymore. I feel so wonky. Gotta start on my motherfucking projects. Ciao.

Rockin'... beats, beats, beats.

The early 1950s marked a period of major change in the guitar marketplace-the popularity and sales of steels waned as the popularity of regular guitars exploded. The advent of rock music in the mid-1950s was the coup de grace for non-pedal steel guitar-the electric Spanish guitar had proven itself more versatile and adaptable to the new musical styles. In other words, by the time Hall purchased Electro String, the trend was away from the company's fine lap steels. To update the Rickenbacker line, he introduced the Combo 600 and 800 guitars, designed for the most part by factory manager Paul Barth. Each differed only in its electronics-the 800's horseshoe pickup had two coils, the unpatented "Rickenbacker Multiple-Unit." When used in combination, these coils were humbucking; when used separately, one coil accentuated treble and one bass.

In 1956, Rickenbacker celebrated its 25th anniversary with the introduction of the student model Combo 400 guitar, with what collectors call the tulip or butterfly-style body. Moreover, the firm soon added a solid body electric bass. Both instruments had a novel construction feature: their necks extended from the patent head to the base of the body. Today this is known as neck-through-body construction, with the sides of the guitar body bolted and/or glued into place. Rickenbacker was first to mass produce instruments like this, and the design would soon became a well-known trademark.

Perhaps the best known 1950s Rickenbackers were the hollow body 6-string Capri models, introduced in 1958. Designed for the most part by Roger Rossmeisl, there were three categories, each distinguished by a different body style. The first group had 2-inch-thick double-cutaway bodies, while the second group had 3 1/2-inch thick single-cutaway bodies. The third grouping was a catch-all category for instruments with even deeper bodies, including pure acoustics. All Capri styles came with or without Vibrato and with either two or three pickups. Customers chose either deluxe-style fingerboard inlays and bindings or standard inlays and no bindings. Capris had slim and narrow "fast action" necks, which appealed to many. Standard colors in 1958 included Hi Lustre Blonde (a natural maple finish) and Autumnglo (a 2-tone brown sunburst). Fireglo (the pink to red sunburst we now know so well) was added in 1959. Standard finishes for Rickenbacker solid bodies included Cloverfield blue-green, natural maple, gold-tinged Montezuma Brown, and Black Diamond. Virtually any color was available on any model by special order, and the factory made them. In the late 1960s the standard colors would include Azureglo-blue and Burgundyglo.

In the early 1960s Rickenbacker history became forever wedded to one of the biggest music upheavals of the 20th century: the invasion of the mop-top Beatles from Liverpool, England. The Beatles used several Rickenbacker models in the early years. Before the group broke up, John Lennon would own at least four. This love affair began in Hamburg, Germany in 1960 when he bought a natural-blonde Model 325 with a Kauffman vibrato. Lennon played the original (which was eventually refinished black but still easily identified by its gold-backed lucite pickguard) on all Beatle recordings and in all concerts until early 1964. (Listen for it especially on the rhythm track of the group's "All My Loving.") Rickenbacker provided Lennon with an updated 325 in early 1964--also painted black, it featured a solid top, Ac'cent Vibrato, and white pickguards. Lennon's third Rickenbacker conformed closely to the features of the English distributor's Model 1996. (In the 1960s Rose, Morris, Ltd., carried five Rickenbacker models in England. Generally, they had F-holes instead of cat's eye slashes or solid tops. Ads in England called the Model 1996 the "Beatlebacker.") Lennon's fourth Model 325 was a one-of-a-kind 12-string version.

Paul McCartney used a Hofner bass in the early years of Beatlemania but soon had a Fireglo twin-pickup Rick bass, an early Model 4001S with dot inlays and no bindings. Its features closely resembled those of the Rose, Morris Model 1999 later played and made even more famous by Chris Squire of Yes. These solid body basses-which seemed so modern in the 1960s-used horseshoe pickups in the bridge position, thus proving the validity of Beauchamp's original 1930s design. Good ideas are timeless.

While Paul's Rick bass surged like an undertow, George Harrison's double-bound 360/12 (the second one made by the company) defined a new tone at the other end of the audio spectrum. Its ringing sound embellished "You Can't Do That," "Eight Days a Week," and "A Hard Day's Night," to name just three 12-string cuts from the 1964-65 period. Thus the Beatles created unprecedented, international interest in Rickenbackers, which many fans actually believed came from Britain.

Soon Rickenbackers created the sound and image of bands on both sides of the Atlantic. Jim (later Roger) McGuinn-who bought a Rickenbacker 360/12 after seeing the movie "A Hard Day's Night"-literally made the bell-like quality of its tone the foundation of the Byrds' early style. His later 3-pickup 370/12 featured custom wiring, but was still for the most part an off-the-rack instrument. The Who's Peter Townshend, Creedence Clearwater Revival's John Fogerty, Steppenwolf's John Kay, and many other well-known 1960s guitarists became faithful Rickenbacker users. What had been a six-week waiting period from the factory for some models became a six-month (or longer) waiting period in the mid 1960s.

This rapid growth in demand led to changes in the company. Before 1964 all Rickenbacker guitars had been made at the original Electro String factory in Los Angeles. That year Hall moved it over a six month period to Santa Ana, in nearby Orange County. Despite the disruption in production during the transition, the new factory had increased production capacity. During this same period, the distributor Radio-Tele changed names to Rickenbacker, Inc., thus adopting a moniker people had used all along anyway. The company also added several novel guitars to its line.

The so-called convertibles came equipped with a lever that changed a 12-string neck into a 6-string neck. The Model 331- commonly called the "Light Show Guitar" because of its frequency-modulated internally-lit body-reflected the psychedelic 1960s in both sound and substance. The flashing began when the player hit the strings: yellow for treble notes, red for mid-range, and blue for bass. (Rickenbacker also produced a kaleidoscopic light projector called the Phantasmagorian.) Other oddities included the Bantar ( 5-string banjo meets electric guitar) and Eddie Peabody's Banjoline (a 6-string with Ac'cent Vibrato that tuned like a 4-string tenor guitar). Rickenbacker introduced the hollow body 4-string 4005 and 6-string 4005-6 basses in the late 1960s. Several custom-ordered 8-string basses were also produced.

In the 1970s, Rickenbacker added guitars with detachable necks and redesigned single- and double-coil pickups. A patented feature on some new models, and an option on others, was slanted frets, which better matched the angle of the player's hand. Two double-neck instruments became standard items: the model 4080 bass/guitar and the model 362/12 6/12-string. Rickenbacker basses dominated production during the early years of the decade-in many circles, a Rick bass was the only one to own. Then bands such as Tom Petty and the Heartbreakers and R.E.M. hit like their 1960s forerunners, using Rickenbacker 6- and 12-strings. As the saying goes, fashions go in and out of style. Style is always in fashion.

Today the manufacturing and distribution of Rickenbacker guitars and basses is combined into RIC, the name used since F.C. Hall retired in September 1984 and John Hall, along with his wife Cindalee, became the sole owners of the company. RIC retains the spirit of first-class pre-1965 electric guitar manufacturing and craftsmanship. In addition to newly designed guitars and basses, the company offers faithful reissues of the classics played by the Beatles and other famous artists. RIC has offered highly successful, limited-edition signature models endorsed by such diverse players as Roger McGuinn, Pete Townshend, Tom Petty, Carl Wilson, and John Kay. Improvements in construction and quality control have carried Rickenbackers into the modern era, one that respects the company's early history and at the same time sets out to write new chapters. Groups like Oasis, Pearl Jam, Radiohead, U2, and other of today's top acts include Rickenbacker guitars in their musical arsenal.

A DJ once asked George Harrison if he liked a guitar he doodled on during a radio interview. Harrison is said to have quickly replied, "Of course, it's a Rickenbacker!" Asked the same question 65 years after the invention of modern electrics, thousands of satisfied guitar players would say exactly the same thing.

Courtesy Rickenbacker USA

In 2004 Pekka Rautionmaa produced the 52 minutes music-documentary “First Lady Of Bass” about electric bass innovator Carol Kaye for the Finnish broadcaster YLE. There's a long extract of it on YouTube.

Carol Kaye started her career as jazz guitarist in the late nineteen-forties. In the late nineteen-fifties she started working in the music studios of Los Angeles, playing guitar for legends like Sam Cooke and Ritchie Valens. In the early sixties she picked up the electric bass. Thanks to her talent of creating catchy bass lines, her music reading ability and her versatility in all kinds of styles, she soon became the number one electric bass player in Los Angeles.

Carol Kaye recorded among others for Elvis, Ray Charles, The Beach Boys, Simon and Garfunkel, The Byrds, The Monkees, The Doors, Frank and Nancy Sinatra, Count Basie, Hampton Hawes, Mel Tormé and Barbara Streisand. Her TV and movie credits include Mission Impossible, Hawaii 5-O, M*A*S*H, Streets of San Francisco, In The Heat Of The Night, Butch Cassidy And The Sundance Kid, Bullitt and Sugarland Express.

In the documentary Carol Kaye demonstrates her electric bass and electric guitar playing and plays together with Brian Wilson. There's a lot of interesting first hand information about the studio musicians of Los Angeles who played on many great pop, rock, easy listening and soundtrack recordings.

The extract on YouTube contains quotes by Perry Botkin (composer/arranger), Don Peake (guitar player/composer) and sound engineer David Gold, co-owner of Hollywood music studio “Gold Star” where among others Ritchie Valens, Eddie Cochran, Herb Alpert and Phil Spector recorded.

To my knowledge the documentary is not available on DVD.

 Govinda Marar (1798 - 1843), more famously known as Shadkala Govinda Marar was a Carnatic (South Indian Classical) singer from Ernakulam (DT), Kerala, INDIA. He was a contemporary of Saint Thyagaraja Swamikal (the legendary singer, poet and Music composer) and Swathy Thirunal Rama Varma Raja (King of erstwhile Travacore in Kerala, singer, poet and Music Composer). He was also adept in playing musical instruments like Mridangam, Chenda, Edakka and Thimila in any odd timing. His expertise in singing in six degrees of speed (around 32 notes per second) earned him the title ShadKaala (shadkaala= 32nd notes; Demi Semi Quaver speed) 

Govinda Marar was born in 1798 in Ramamangalam village in Kerala. His parents belonged to community of Marars (They are considered to be experts in Temple percussion instruments) and performed traditional singing in the temples of Kerala. He took to singing from a very early age. He received his musical lessons from Haripad Ramaswamy Bhagavathar.

He is said to have used a Tamburu having seven strings (conventional Tamburu has only four strings even now). At the age of 21, he left his home to begin a life for Music and was wandering. He is believed to have sung in many important temples in India.

However, he desired to meet the legendary Singer Saint Thayaga Raja Swamikal, who was residing in the state of Tamilnadu. But he was laughed at by Musicians including the Disciples (Great Professional Musicians) of Thyagaraja Swamikal.  But when the Saint heard that somebody has come to meet him, he called him inside and requested him to sing a song for him. Then he sang a Classical song, improvised the Swaras (notes) and reached the highest speed.  Then the Saint saluted him and composed his famous song then and there in "Sree Ragam". The song named "Endoru Mahaanu" has deepest meaning in it....that "....there are so many GREAT SOULS in the World in different fields and I salute all those people......" This song is sung every year, even now, on his birthday in different parts of India by musicians, all sitting together (irrespective of professionals and others) as a tribute to him.

 After leading the life of a wandering for a long time, he reached the temple of Panduranga (Pandharpur in Maharashtra).   He was revered as Paramahamsa Govinda Das. The temple records note that he attained Samadhi (died) in 1843

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Many people write to me that playing fast Bass is not Music. But the aforesaid facts reveal that Musicians used to attempt to sing and play notes at higher pace even centuries before.  So I believe that there is nothing wrong in playing Music at Higher pace, and there is meaning in it....though Music is not playing fast alone... But I always love to Groove than playing fast.

Jayen Varma, Bassist

Michael Franti, originally uploaded by corey_bayless.

Photograph by g. piper carr