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Post by fatfingerjohn on Aug 20, 2013 20:20:00 GMT
Just back from a few days away from the computer so thanks for all your interesting replies. Can't believe that everyone doesn't know McTell; just shows how old I am!!!!!!
I totally agree with the chap who says that seeing other good performers inspires him; first thing I do when I get home is pick up the guitar. I know I can't emulate them but I can dream!
For many years I just didn't treat myself enough and even would think £15-40 is a lot of money (which it is). But when its about the same seeing one Football match live then it puts it into perspective. I now just grab the opportunity whenever I can. Now, I must book that Kieran Goss gig in Sheffield before I go to bed; its at least 4 months since I saw him ......
FFJ
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Post by fatfingerjohn on Aug 16, 2013 9:42:54 GMT
My diary seems empty if I don't have a few concerts booked and I have some luxuries to look forward to in the darker months ahead.
First is Quicksilver at our local Mansfield Folk Club; I haven't seen them but main singer is Hillary Spencer who was with my favourite acapello group, Artisan.
Then there is Kate Rusby at Newark in September; will be my third time to see her and she always performs well (and is rather lovely too!).
Less lovely to look at is Ralph McTell who we go to see in October; haven't seen him live before so looking forward to it. Streets of London was first song I ever sang in public (too many years ago to admit).
And, for second year in a row, Fairport Convention next February in Chesterfield; ugliest of the lot no doubt but great music.
Room to fit in a few more if anything good and local comes up.
FFJ
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Post by fatfingerjohn on Aug 14, 2013 7:47:37 GMT
As for other 'interpretations', this June Tabor and Martin Simpson version of Richard Thompson's "Strange Affair" is one of my very favourites (and I love the original too!) An 'interpretation' that I dislike intensely is Ronan Keating's bland version of "Father and Son". Cat Stevens' original and very moving version presents the lyric as a dialogue, with the two characters parts sung in different octaves, the father's part lower than the son's. RK sings both parts in the same octave and does nothing in his phrasing or vocal expression to differentiate the words of the two characters in the song. This defeats the whole object, and all but eliminates the poignancy from the song. So I'll not post RK's version, just a "proper" one! Keith Hi Keith, Agree regarding the RT song and that June's rendition is excellent; the original with Linda and Richard's gentle harmony is very touching, clearly written when RT was going through his misery creativity period. (I'm not knocking this because it produced some amazing songs e.g. Waltzing for Dreamers and my favourite, Dimming of the Day (where the Bonny Rait version is great too). Once again RT shows that a song doesn't have to be fancy to be effective and moving. Also agree with the comment on Father and Son, although I have never been mad about it myself; I'll steel myself to dig out RKs version but expect it will be ruinous. As I said on the original post I love Dylan, mainly his earlier stuff; but I saw him live (just) about 18 months ago in a double hander with Knopfler. MK was brilliant, but I'm afraid the Dylan bit was very disappointing. It was just this barely recognisable old chap standing to one side in a long black coat playing the keyboard and groaning away. To be frank it could have been anyone and he was drowned out by the heavy backing. I've no doubt that others may have thought he was great, but for me it was a tour too far. FFJ
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Post by fatfingerjohn on Aug 12, 2013 16:16:56 GMT
Not sure if this should belong in the 'anything acoustic' section and will probably get howls of derision anyway. Watched a recent programme on Sky Arts on Bryan Ferry and an album he made a few years back called 'Dylanesque'. I hadn't seen this before. Now, I love Dylan and I like Bryan Ferry. But bearing in mind most attempts by someone to do someone else's music fail dismally and are pale imitations of the original. In this instance I love the originals and also love the BF interpretations; now bought the CD and have it blasting out in the car wherever I go. Why does it work for me? Because it is a totally different treatment; it is unashamedly 'Ferry' and not Ferry trying to be Dylan. Just Ferry using Dylan's amazing lyrics and tunes, but creates a very different sound, beat and mood. Here's two videos to demonstrate (turn 'em up loud)! 'Times they are a changing' is done in classic Ferry 70s style and, if you forget the Dylan original it's just great. This is 'Positively 4th Street', sung by Ferry very much as a ballad and again works in a very different way. What do you guys think? Turning in your graves? And what other 'interpretations' of other people's originals do you love/hate? FFJ
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Post by fatfingerjohn on Aug 11, 2013 8:57:24 GMT
Is there a shop in Doncaster where you can go try a bunch out? I don't think so at Turners themselves but you can ask Dave; there is an email enquiry form on their website or give him a ring; you will actually be talking to the guy who owns it! Their website lists dealers and I know there are a couple in Rotherham and Sheffield but they don't stock the full range. In the past if I've wanted to look at a particular model Dave has offered to get one to a dealer for me to try out with no obligation. If you look at Turner website you will see that the model numbers mimic the Taylor range pretty precisely; as I said they are a close copy; I was told once, but don't know to what extent it is true, that there may even have been a litigation case in earlier days? Generally speaking they retail at a fraction of Taylor prices; I've no doubt that the fine points of wood used and workmanship are different. I first came across them when I had bought my Taylor 310 and wanted another 6 string with exactly the same nut width and string spacing so that I could keep it in an open tuning without having to constantly retune the Taylor; but I couldn't afford another Taylor for this luxury! So, by accident I found a Turner in a store in Notts and it was EXCATLY the same, including neck profile etc. I now have 3 Turners for different reasons; but still love my Taylor!
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Post by fatfingerjohn on Aug 11, 2013 7:14:57 GMT
Looks a nice guitar. Didn't the guy behind Terry Pack guitars start off Turner? Yes. Terry Pack started off the company and sold it last year to a chap called Dave Ryan. They are based in Doncaster. Terry himself, who I think is around 70 now, still works from Lancashire and sells largely higher end, usually used, guitars (and accessories) as well as his own brand 'Terry Pack' guitars, online from his website nicheguitars. Anyone interested, here's the links www.turnerguitars.com/www.nicheguitars.com/FFJ
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Post by fatfingerjohn on Aug 10, 2013 11:44:42 GMT
Hi,
Treated myself last week and couldn't resist buying another Turner guitar. If you don't know Turner they are a pretty unashamed Taylor copy with VERY similar neck, nut width etc. I have had 2 in the past and they have both played excellently. This one I spotted was a bit of a dream as I've ogled the Taylor Koa series for some time and been lucky enough to try a couple. So, my new baby (christened by some guitar friends Tabatha, don't ask why!) is a Turner 92e Grand Concert with Koa back and sides and spruce front. For a smaller body guitar it really punches its weight and is very full in the mid tone area and sounds great fingerstyle. It compliments my Taylor Dread very well which is a bit more mellow and strums very well.
I very rarely see much from other guitarists who have Turner guitars but they are excellent value for money (and no, I'm not on commission!!). Any one else got one??
Regards
FFJ
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Post by fatfingerjohn on Jun 13, 2013 8:13:59 GMT
Hi, After watching the Agneatha TV programme (ABBA) a couple of nights ago I was looking at seeing if I could do an acoustic accompaniment to 'Winner Takes it All' which I think is an amazing song. Doing a search on youtube I came across this chap. Many of you may know of him already, but he is amazing. From South Korea he was about 16/17 when this video was made. And looking at his other videos (he's made 3 cds already) here is a Beatles medley which I think was made when he was 13 ish. Apparently to start with he didn't read tab or anything; just taught himself by listening and watching youtube. Amazing (helped by fingers about twice my length and flexibility). Keep trying ...... FFJ
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Post by fatfingerjohn on Jun 13, 2013 8:03:44 GMT
That's a coincidence as I came across this video myself 2 days ago; there is an earlier video from the same guy also; I thought the earlier one was a little less 'staged'.
I teach a group of (largely) beginners for our local U3A and sent it on to them (complete with an even stronger warning about the language). I asked them if they wanted me to ask him to join our group; most said 'no' although one (lady!!) said 'yes' as it would make them look better.
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Post by fatfingerjohn on Jun 5, 2013 11:12:52 GMT
Sounds like fun - hope you'll report back! keith Excellent evening with around 20 different Taylor guitars on show and being demo'd. First part was running through the main shapes with one of each shape with exactly same spec wood etc. Idea was to show the difference in tone between the models and where they fitted into the range. Then ran through example of one shape only, but with a different range of tone woods, from Mahogany through to Koa with Rosewood, Maple, Walnut on the way. A break at half time where you could get hands on (although impossible to hear anything in the hubbub). After break mainly discussed the expression system and how it was 'different' and then a real treat with a thorough dem of the T5, very impressive if you want to bridge acoustic with electric. Demo also of the Baritone (sounded great through speakers) and 12 string. Finished with a handout of some gifts. Overall an excellent and informative evening and thanks to Walter, Rachel and Dave of Dave Mann music for hosting; and the guys from Taylor. Now ........ onto a bit of a hobby horse which no doubt has been discussed many times here and other forums so I know my view will get cries of 'you're wrong'. But, even though the demonstrator was being very fair on how he played each model to try to be consistent, my ears still found it very difficult to pick the sound nuances between many of the shapes. Yes, you could hear the difference between the new Grand Orchestra (largely their Jumbo model) and the small short scale model. But many in between I am convinced that, in a blind test, I would find it extremely hard to pick the subtleties. A quarter inch difference in body width as the main differentiating feature makes THAT MUCH difference?? Then add the difference in each model of the tonewood, which again in a blind test may be too subtle for my ears; the top, with variations of Sitka spruce (from different sources), Engelman spruce, mahogany, etc; then bracing pattern; cutaway or not; then strings used (make, type, gauge etc), location ambience, room acoustics; not to mention the player him/her self. And, of course, even though the expression system may be excellent, if you do play through an amp then many of the nuances will disappear anyway. For me it all boils down to 'what feels right for me'; comfort, sound, and overall playability. In a blind test I hope I'd eliminate some and narrow the field. But whether the reason for me liking a particular guitar is specifically due to one or more of the above factors is difficult. Don't get me wrong; I love Taylor guitars and think they have tried exceptionally hard to cater for most tastes and styles. Also, I'm simply not a good enough player to REALLY be the best judge or do justice to the top end range. But, is there a little 'emperor's new clothes' in this? Having said that, give me a Koa series, Koa top with special tuners and I'd not refuse! The debate continues.
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Post by fatfingerjohn on Jun 3, 2013 17:20:30 GMT
Off to see this courtesy of Dave Mann music tomorrow evening. Probably my only change to get my hands on some £5k plus guitars!
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Post by fatfingerjohn on May 25, 2013 17:57:01 GMT
Just thought I'd share two acoustic performances I've been lucky enough to catch lately.
First was earlier in May at Nottingham Playhouse where Kieran Goss did a concert in the Neville Suite. I wasn't very familiar with his work before although knew he was 'big' in Ireland. He entertained a smallish audience excellently for 2 hours with a lovely Irish patter between songs. His style is very much gentle and melodic with a few songs bordering on the mushy but all skilfully delivered with a lot of feeling. If you haven't heard it, give yourself a treat by looking at the following link for his song 'Reasons to Leave' which echoes his childhood as one of 16 children.
I tried this song back home and was finding it difficult to pick the intro lick, particularly as he was tuned down half a step; I emailed Kieran and he replied within a day giving me the exact sequence, even though he had a gig in Blackburn that night. Good stuff.
Then for something completely different. Went to see Dennis Locorriere (Dr Hook) who was doing a solo acoustic gig at a venue in a village in Notts. What a fabulous evening we had with a mixture of old 'Hook' songs and more recent compositions as a solo artist. His delivery and guitar playing were top drawer and spiced in between by excellent repartee and audience engagement.
These two shows highlighted what a fabulous instrument the guitar is; two different genres, styles, etc, both presented expertly from the same instrument (well, not EXACTLY the same but you know what I mean).
FFJ
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Post by fatfingerjohn on May 22, 2013 10:20:55 GMT
At local folk night on Monday someone was playing an 'Irish Bouzouki' (which I confirmed was not some sort of joke without strings etc). He was accompanying his singing in the same way as using a guitar. It had 4 pairs of strings and tuned like a mandolin. Presumably this is what a normal bouzouki is also In which case what makes it an Irish one?? He strummed only, using a pick. Result was very good although he probably strummed too hard and drowned the voice somewhat; it certainly was a loud instrument. It also looked RELATIVELY easy to play (which may be totally incorrect) with only 4 pairs of strings to worry about. Movement up and down the neck with common positions looked fairly straightforward. I would be interested in anyone's experience of this instrument, ease of learning, what makes it 'Irish' etc. FFJ
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Post by fatfingerjohn on May 22, 2013 10:14:14 GMT
Hi, When I bought my last guitar (Taylor 310ce) there was a leaflet enclosed about the 'Taylor Method' of changing strings. I've attached the link to this pdf below. This says take them all off at once which gives you the opportunity to clean the fretboard as well occasionally. I do a fretboard clean lightly every string change and more thoroughly (but carefully) about once a year. I usually change strings every 8-12 weeks (D'Addario EXPs). Whilst I'm not saying that the Taylor method is the right one, for me if it is OK with Bob Taylor, its OK with me. PS I LOVE changing strings because of the anticipation of those lovely new ones. I can usually do it in about 20 minutes; a cheap plastic string winder at about £5.00 is the best accessory I've EVER bought. www.taylorguitars.com/sites/default/files/Steel_Restring.pdf
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