Ok this one is kind of funny

Here are two files, one of which is the bass players mix and one of which is the guitar players mix.

Can you guess which one is which?

steve d flat noodle-guitar players mix

steve d flat noodle-bass players mix

I guess the titles give them away, its still kind of funny.

Heres a tune kind of inspired by the great jimmy page and robert plant, once again acoustic, with Kurt and Steve

steve-and-kurt-zeppelin inspired tune

Here’s a funky acoustic Jam with tabla, a 5 string bass and a couple other things

steve-funky-acoustic

Here is the 18 minute improvisation we just did.

Hope you like it.

steve-and-kurt-acoustic-improvisation

Here’s the first stevy sound video I made, which is just a d flat jam over a tabla loop.

Stevy Sound first jam

Technorati Tags: d flat, guitar jam, jam, jam band, stevy sound, tabla

Many players when they are beginning, just want to play fast.

There is nothing wrong with this, hey its kind of fun, but playing fast just for the sake of playing fast will get you nowhere, except staying in your moms bedroom.

Seriously, in the world of real professional musicians there are always people that can play fast, but many of them fail to get and keep gigs because they ignored factors other than speed which are actually much more important.

What are those factors?

They are myriad depending on the style of music and the situation, but no matter what the gig is, whether it is your origionals, a big stadium, or the holiday inn, one of the biggest is your TIME. Seriously, you are playing solos maybe 5 percent of the time (10 percent if you are Nigel Tufnel from spinal tap) and the other 90-95 percent of the time you are playing rythm of some sort. You gotta lock with the drums, bass, dj and whoever you are playing with, or it won’t matter one bit that you can play a zillion miles an hour.

Shredding is a lot of fun but is a bit of a trap. I have seen a lot of players on youtube playing amazing things, but they are really not paying attention to what they should play, as opposed to playing some notes fast.

In my book playing something interesting is what I am concentrating on now, although we all have our old habits we fall back into

So my point is, play something interesting, whether it is slow, medium, or whatever. David Gilmour is not a shredder by any stretch of the imagination, yet he captivates people with sometimes just a few notes. Get the magic. Do it now.

This is just an excerpt the incorporates baseless sweeping where it really doesn’t fit the song whatsoever in the style of frank gambale and my other guitar playing heros. Thanks for watching!

Duration : 0:0:44

Technorati Tags: frank gambale, guitar, guitar solo, learn, play, Shred, sweep

This is just a small clip of a sweep and how it is used in soloing.

Tasteless, but a helluva lotta fun! Check it out…

I’ve had some requests for more “Guitar solos” to be played on the keyboard, PLUS it’s a video response for Leopard Joy: “Smoke On The Water” See if you can hear where it is!

And thanks to all of my friends who have recently stood behind me.. I’d do the same thing for you in the blink of an eye..
You guys ROCK!!!

? ToMMyY!! ?
____________________________

Honors for This Video:
#31 – Most Discussed (Today) – Music
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Duration : 0:3:41

Technorati Tags: TomsterMusic

He was born to sharecroppers Buck and Louise Perkins (misspelled on his birth certificate as “Perkings”) and was soon out in the fields picking cotton and living in a shack with his parents, older brother Jay, and his younger brother Clayton. Working alongside blacks in the field every day, it’s not at all surprising that when Carl was gifted with a secondhand guitar, he went to a local sharecropper for lessons, learning firsthand the boogie rhythm that he would later build a career on. By his teens, Carl was playing electric guitar and had recruited his brothers Jay on rhythm guitar and Clayton on string bass to become his first band. The Perkins Brothers Band, featuring both Carl and Jay on lead vocals, quickly established itself as the hottest band in the get-hot-or-go-home cutthroat Jackson, TN, honky tonk circuit. It was here that Carl started composing his first songs with an eye toward the future. Watching the dancefloor at all times for a reaction, Perkins kept reshaping these loosely structured songs until he had a completed composition, which would then be finally put to paper. Perkins was already sending demos to New York record companies, who kept rejecting him, sometimes explaining that this strange new hybrid of country with a black rhythm fit no current commercial trend. But once Perkins heard Elvis on the radio, he not only knew what to call it, but knew that there was a record company person who finally understood it and was also willing to gamble in promoting it. That man was Sam Phillips and the record company was Sun Records, and that’s exactly where Perkins headed in 1954 to get an audition.

It was here at his first Sun audition that the structure of the Perkins Brothers Band changed forever. Phillips didn’t show the least bit of interest in Jay’s Ernest Tubb-styled vocals but flipped over Carl’s singing and guitar playing. A scant four months later, he had issued the first Carl Perkins record, “Movie Magg”/”Turn Around,” both sides written by the artist. By his second session, he had added W.S. Holland — a friend of Clayton’s — to the band playing drums, a relatively new innovation to country music at the time. Phillips was still channeling Perkins in a strictly hillbilly vein, feeling that two artists doing the same type of music (in this case, Elvis and rockabilly) would cancel each other out. But after selling Elvis’ contract to RCA Victor in December, Perkins was encouraged to finally let his rocking soul come up for air at his next Sun session. And rock he did with a double whammy blast that proved to be his ticket to the bigs. The chance overhearing of a conversation at a dance one night between two teenagers coupled with a song idea suggestion from labelmate Johnny Cash inspired Perkins to approach Phillips with a new song he had written called “Blue Suede Shoes.” After cutting two sides that Phillips planned on releasing as a single by the Perkins Brothers Band, Perkins laid down three takes each of “Blue Suede Shoes” and another rocker, “Honey Don’t.” A month later, Phillips decides to shelve the two country sides and go with the rockers as Perkins’ next single. Three months later, “Blue Suede Shoes,” a tune that borrowed stylistically from pop, country, and R&B music, sat at the top of all charts, the first record to accomplish such a feat while becoming Sun’s first million-seller in the bargain.

Duration : 0:2:38

Technorati Tags: Billo, Buck, classic, Country, Elvis, Maxi