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woz70

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  1. Do a search on YouTube. They're not difficult to find
  2. I think the lesson here is : never lend your vinyl to Ross Halfin, because he likes pouring stuff over it. Or did he mean 'poring'? Does nobody use spellcheck nowadays? I know it's a petty thing, but if you're going to charge huge amounts of money for a book, at the very least get someone to proofread it for you.
  3. Play a Dm chord at fret 5 (Am chord shape). Then leave your first finger barreing all the strings (except the low E) at fret 5 and take away your middle, ring and pinky fingers (a D9sus). Alternate between these two chords and you've got the backbone of it. Occasionally the Dm is a Dm7 (move pinky to fret 8 of the high E string). Play a bit with a Dm pentatonic scale at fret 5, and you'll soon find the single note bit (it starts on the D string, fret 5). Use your ears. It's far better than reading some dodgy Tab.
  4. The news was apparently first broken by Phil's son, and seems to have made no impact in the mainstream news at all. A bit sad that Plant has made no comment, but then he didn't have anything particularly nice about to say about Johnstone for quite a long while after their songwriting partnership dissolved. (But then he's always been a bit disdainful about past collaborators...).
  5. Just seen on Facebook that Phil Johnstone has died. He was keyboard player and writer with Robert Plant during the Now and Zen, Manic Nirvana and Fate of Nations years. This was posted by The Levellers on their Beautiful Days Festival page earlier today: Very sad to hear of the passing of festival friend Phil Johnstone this weekend. Songwriter, pianist, guitarist and producer Phil has been part of the Beautiful Days and Levellers family for many years. Phil originally recorded and produced the 1995 concept album Freeborn John by Rev Hammer and was a key player when the historical folk opera had its live premiere at Beautiful Days in 2005. Phil returned with Rev Hammer and an all-star cast for another one-off performance at the festival in 2015 to celebrate the 20th anniversary of the original release. Phil and Rev Hammer also curated and performed in the annual, over-exuberant live adventure that was "The Fabulous Good Time Party Boys’ for 8 years from 2006 to 2013 in The Big Top. Phil achieved significant success as a recording engineer, music producer, songwriter and musician. He wrote and played in the band The 45’s and then went on to work with Robert Plant for many years. Phil first worked with Plant on the 1988 album Now and Zen which he co-produced and mostly co-wrote. Phil also wrote songs for Plant’s follow-up albums Manic Nirvana and 1993’s Fate of Nations. As well as a number of other writing and producing credits over the years he co-wrote the whole of the Levellers' 2000 album Hello Pig. Devon-based Phil was also the Academy of Music & Sound in Exeter’s first trainer/lecturer in recording techniques and music production. Phil Johnstone was one of a kind. He was a larger-than-life character who will be greatly missed by all who knew him. Our sincerest condolences and thoughts are with his friends and family - particularly his wife and children whom he adored. RIP Phil
  6. Going onstage knowing that your voice is shagged, and playing for over 2 hours. And obviously doing the same thing repeatedly until his vocal cords were so damaged that he needed surgery. And then still continuing before his voice was properly healed - to the point of starting a tour in 1975 with a cold, knowing the previous damage that had been done by doing the same thing! It sounds insane. it’s a wonder Plant can speak nowadays, let alone sing.
  7. Never did a complete version of Good Times Bad Times whilst Bonzo was alive. Don't think they ever did "Your Time is Gonna Come'. No 'Living Loving Maid' (Page dislikes it). No 'Hats off...'. No "Custard Pie' (a REAL shame), No full version of 'The Rover'. No 'Houses of the Holy'. No 'In The Light' (Jones didn't trust his synthesiser to stay in tune). No 'Night Flight'. 'For Your Life' only at the O2. No 'Royal Orleans', no 'Candy Store Rock', no 'Hots on for nowhere', no 'Tea for one'. 'Carouselambra' only as a partial rehearsal recording. No "Fool in the rain', No 'I'm Gonna Crawl', No 'Southbound Saurez. Loads, basically.
  8. So... Friends is ok, the fanfare section in Stairway is ok, Black Dog is ok, Four Sticks is ok, the intro to Over The Hills is ok, The Crunge is ok, The Ocean is ok, but Candy Store Rock 'makes no sense' because of a bad tape splice? Come on! All of those other songs have portions where the metre changes from an even to an odd time signature, or beats are dropped/added. There's enough of them that it could be considered one of the trademarks of the band!
  9. Firstly - the intro to OTHAFA is very idiosyncratic (as is much of Page’s playing) and not at all easy from a rhythm point of view. I wouldn’t recommend trying this tune to anyone who: doesn’t know all their ‘open position’ chords; isn’t able to smoothly move between those chords; isn’t comfortable moving from chords to single notes and vice versa; isn’t comfortable with different strumming patterns and alternate picking; isn’t comfortable with hammer-ons and pull-offs... the list goes on. Simply put, it’s hard. As for the rest... it all depends on the student and their interests and abilities, as to what happens when, and how things get taught. You do need to learn your open chords, distinguish between major and minor, and be able change easily between one chord and another. Learning some scales can also be useful because they help you to be able to move your fingers independently. ‘Learning by doing’ is the only way to learn any musical instrument. It’s like learning to drive - you can read about it, talk to people about it, watch people doing it.... but until you actually sit there and do it, and learn over time and with repetition what you have to do with you eyes, your ears, your arms and your legs, you don’t really have a clue what ‘driving’ actually involves. Learning ‘theory’ can be useful (and it depends on what you mean by ‘theory’) but isn’t strictly necessary (to use the car analogy again, you don’t need to know how a four stroke engine works in order to drive a car). Using tablature or standard notation can be useful but isn’t strictly necessary - I learned to play the guitar ‘by ear’ and didn’t discover tablature until I was in my 20’s - It all depends what you want from the guitar and your playing. The best advice I can give you is this: Take it slowly. Be patient with yourself. At the beginning learning the guitar is uncomfortable on the fingers, and co-ordinating both hands can be challenging. Frustration is going to happen, but doing things slowly and over-and-over again is the only way get through it. Repetition is your best friend - your aim is to build muscle memory, and repeating actions methodically and slowly (at first) is the best way to do this. Anyone who tells you there are hacks or shortcuts is lying to you. Lots of practise is the only way to improve. Get a good teacher who listens and adapts to your way of learning, and can stop you from doing things that aren’t helpful or will give you long-term injuries. (Some things can seem ridiculously difficult until it’s pointed out that if you put this finger here instead of that finger..... and that’s why teachers can be useful!) Most importantly listen to lots of music. Listening is the most powerful tool available to any musician. I’ve heard guitarists with amazing, mind-blowing technique who are utterly incapable of playing in a band because they learn their part, put their head down and all they hear is what they’re playing, not what the other musicians in the band are doing and how to make all the parts fit together. If you’re an absolute beginner and want to look at some excellent tutorial videos check out justinguitar.com. I’m not affiliated with him in any way, but I met him back in the late 90’s when he was playing in a Stones tribute band and he’s a great player and a fantastic teacher. Good luck!
  10. Dude. My apologies. There are soooo many complete tits on this forum that it's hard to sort the wheat from the chaff sometimes. Looking at the comments on Marty's videos tells me that enough people have noticed that he is mostly er.. 'less than accurate' that my voice will get lost in that ocean too... If you're not going to play note for note for fear of copyright infractions you need to state that clearly at the beginning of the video. Students, as you well know, are often lazy and are always looking for the shortcut. Explaining that the only way to get good is the hard way never goes down well. Explaining that online tablature is wrong 99% of the time also goes down badly. Explaining that listening is a better tool than videos and books is another hard one. If I'd had the ability to play the records I learned from at 1/2 speed but with the correct pitch when I was learning.... I could have saved money on buying new tape machines to replace the ones I broke. The reason I commented here is because, as a teacher I know it's best to learn things right the first time. Mistakes are easily embedded into muscle memory and are time consuming and boring to fix. Stay well, and let's hope we can play in the outside world once again very soon.
  11. If you're going to teach somebody something first learn it right, then teach it right. Sarcastic comments like that don't make a wrong thing right. I haven't got the time, the video gear or the inclination to compete with the ocean of videos out there. There are a few video tutorials out there that get it right, but they're, sadly, in the minority. It annoys me that a big trusted site like Premiere Guitars, using a big trusted name like Marty Schwartz teach things wrong - especially for such an iconic song. And then people who are obviously guitarists, like you, always give snarky comments when it's pointed out. Or did you not notice that he's playing it wrong? I just tell my students to use their ears. Play along with the song you want to learn and work it out for yourself first. If you get stuck watch a few videos pre-armed with the knowledge that the huge majority will show you something that's wrong, but with the hope that they've got the bit you're stuck on right! There are some excellent general tutorial videos out there for learners - Justinguitar is excellent. Paul Davids is also very good, but sadly you really have to trawl through the dross to find them.
  12. Aaargh! Incorrect timing on intro (he keeps adding a beat!!!), incorrect chords in the verse. It's like he listened to the song once about 15 years ago and this is how he remembered it. If you're going to do tutorials on a song, the least you can do is check you're playing it right first 🤬
  13. He sings “see how they run” in the middle section. Tenuous, yes. But true.
  14. Reverb is generally (but not always) added at mixdown. It won't be tracked, but will be used as a buss effect during the mixing process and only printed onto the mixed master tape. You might want to do a little bit of reading about signal flow on a mixing desk and how and why 'buss' and 'insert' effects are implemented. I can point you at some useful resources if you're interested. The Rolling Stones mobile may have had some basic reverb units (spring reverb probably. Plate reverbs are way too big, heavy and delicate to put in a mobile studio) to help with tracking vocals (for the benefit of the singer, rather than printing onto the track) and rough reference mixes. Finding out where each album was mixed, rather than where it was recorded, will answer your question. Generally it would have been a studio with a high end plate reverb. By the time of ITTOD and definitely on CODA a Lexicon digital reverb was used (I recall somewhere reading about how shocked Jimmy saw at the price of the Lexicon that was bought for The Sol studios and insisted on using it on everything so he got his moneys worth! Might have been an interview with Stuart Epps? Steve Jones might have it on file somewhere)
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