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Tack
för alla glada tillrop sedan jag kom hem från Huddinge Sjukhus skrev jag i
det Nyhetsbrev jag skulle ha skickat omkring den 16 – 17 januari. Men jag
var snart tillbaka på HS då min kärlkramp exploderade så att jag samma
nämnda helg än en gång fick bo några dagar på sjukhuset. Men nu är jag
tillbaka i hemmet och tänker skicka mitt Nyhetsbrev trots att det sker på
en onsdag.
Country Minstrels repade för första gången sedan Lida 2007 i min lilla
studio men den här gången inför jobbet på Stockholm Hoedown den 30 januari
2010. Jag hoppas att ni tar er till Boule & Tapas i Slakthusområdet för
jag tror att det blir en höjdarkväll med både bluegrass och country. Jag
missade repet i söndags men vi kör en repris nu på söndag.
I
lördags fick jag besök av Anders Brundell och Anders Lindby, den ena från
Dalarna och den andre från Gotland. Anders sålde sin gamla fina MSA till
Anders. Jag bjöd på kaffe och kaka. JL.
Hallå, Janne!
DCMC:s countryjam är rädda mot alla odds!
De
återuppstår fredagen den 26/2 i Säterdalen, så då är vi alltså tillbaka
där alltsammans började för 20 år sen. Hoppas att det sprider sig så att
många hittar dit igen. Vi blev ju trångbodda i Kvarnsvedens Folkets Hus
till sist för att jammet var så poppis. Jamdatum under våren blir
26/2, 26/3 & 23/4 (apriljammet tidigareläggs alltså en vecka för att inte
krocka med volborgsmäss).
Se också
http://countrydalarna.forum24.se/countrydalarna-about145.html
Anders i Falun
Sedan
blir det lagom att bege sig till Stockholm Hoedown lördagen den 30 januari
där det också blir en form av jam. JL.
Hej på er!
Det var ett tag sen, men nu vill jag gärna tala om att vi kör en
maratontest med WWR. Lyssna gärna - länken hittar ni på
www.warmwebradio.com Önskningar tas emot på:
request@warmwebradio.com .
Under den här perioden kör vi extremblandat, icke genrebundet, så det är
inte bara country ens när jag är vid spakarna. Vilket är till och från
mellan onsdag klocan 17 till fredag samma tid. Hela testet pågår till
söndag klockan 22.
Frågor - hör av er!
Hälsningar, Jonas
Hej alla vänner av Countrymusik.
OBC Music har publicerat ett nytt bluegrassprogram - BG-15.
Håll till godo.
Vi ser gärna att ni fortsätter (eller påbörjar) ett medlemskap i OBC
Music. För endast 100:-/år
sponsrar ni vår verksamhet för webbhotell och domän.
Använd plusgiro 43 93 21-1.
Nu startar vi även livemusik på restaurangen Boule & Tapas,
Slakthusområdet vid Globen. Start lördagen den 30 januari med Janne
Lindgrens Country Minstrels, i en efterlängtad comeback, samt
bluegrassbandet Cold Mountain Band. 100:- i inträde.
Preliminärt
fortsätter STOCKHOLM HOWDOWN följande lördagar
13 feb
27 feb
20 mar
10 apr
24 apr
Välkomna!
www.obcmusic.se
- gives you good country music to your computer –
Hmm!
Det ska väl egentligen vara
nyhetsbrev 2010-02.
Du e liksom ett tusen år efter... hihi...
Som ett gott vin...
snacka om väl-lagrad årgång!
Men ha´t bäst i alla fall Mr Steel!
FAN-klubben
Nädu,
förra årets räkning var typ 09 055 och då bör årets räkning fortsätta med
10 001. JL.
Hej Janne,
Hoppas allt är bra,ville bara meddela att jag flyttat nu under helgerna
så du kan uppdatera ditt ev. register om du vill, måste bara säga
att jag är fortfarande
supernöjd med GFI,n
(har t.e.x kört med samma
daddario xl pro steel strängar nu i 7 månader utan ett enda strängbrott
o jag spelar ganska mycket,det beror nog inte bara på bra strängar.
Ny adress är
Anders Lindby
Hej Janne
Kolla vad som finns till salu på Ebay
Hoppas du har repat dig från senaste sjukhusresan så att du kan satsa 100%
på comebacken med Minstrels. Vore kul att kunna komma upp och lyssna:-)
Ha´t gött,
med vänlig hälsning,
Thomas
http://cgi.ebay.com/LP-record-steel-guitar-Janne-Lindgren-pedal-steel_W0QQitemZ330395213904QQcmdZViewItemQQptZMusic_on_Vinyl?hash=item4ced16e050
Kul att se min gamla
platta på nätet. På den tiden, 1975, spelade jag på en AWH Custom. Uffe
Sterling spelade trummor i bandet men är numera steelpicker i Rankarna. De
andra medlemmarna är från vänster Gunnar Almqvist, Anders Gustavsson och
Lasse Wallander. JL.
Hej och god fortsättning!
Det kändes som det var dags för en
uppdatering av Rockridge Brothers göranden och låtanden. Till att börja
med är det nu möjligt att handla på vår hemsida och betala direkt med
hjälp av PayPal. Kika in på
www.rockridgebrothers.com och klicka på "Merchandise" om du känner dig
shoppingsugen.
Det har dykt upp en del nya spelningar. Vi
slänger upp dem på vår
www.myspace.com/rockridgebrothers för den vetgirige. Kolla också gärna
in vår fräsiga youtubekanal:
www.youtube.com/rockridgebrothers.
Men nu till det viktigaste av allt:
Nu på fredag den 22 januari spelar vi på
klubben One Monkey Don't Stop No Show p Mosebacke i Stockholm.
Dessutom spelar Bitter Blue rökig rhythm n'
Blues och The Beat from Palookaville har lovat att röja loss. Dj:ar gör
fröken Anna.
Med andra ord, en rykande kväll på
Mosebacke och One Monkey Don't Stop No Show.
Välkomna!
Hello fellow players,
I keep getting questions from everybody on how to set the Boss Digital
Delay unit. It’s very simple. You set them where they sound the best
when you play. I like to set them different for different tones and
different tempos. A good standard setting that several great players use
is to set the echo on the digital delay where the first echo sound that
you hear when you strike the strings is a little less than half the volume
of the string without the echo on it.
In other words, set your echo volume where it’s a little less than half.
Set the repeats where you only hear about three. The second repeat will
be about half the volume of the first repeat and the third repeat can be
almost inaudible.
I’m not going to tell you what numbers every knob goes on because the
knobs could be installed totally different on different units. Besides,
the settings need to be pleasing to the ear, not the eye.
Reportedly, this is the setting that Buddy Emmons uses on his echo unit
when he plays those big beautiful lush Ray Price fills and turnarounds.
You know, the ones he did in the 1960s.
Most steel players have a remote reverb unit, usually Boss, and the
setting here would be mostly a matter of taste. Set it where you can hear
it clearly and not to where it gets in the way.
Now here’s the way to hook up your two units. Go from your guitar into
the input side of the echo unit. From the echo unit, go into your volume
pedal. From the volume pedal, go into your reverb unit. From the reverb
unit, go to the amplifier.
So actually, your volume pedal is between your echo and your reverb unit.
Of course, from your reverb unit, you can come out of the two outputs and
go in to two different amplifiers and have a true stereo.
If you would rather have the echo in stereo, which most people don’t, but
it does sound good, you can add the echo after the reverb unit and go into
the amplifiers.
There are many ways you can hook up a lot of different effects. What I’m
giving you is the most common way it’s done.
After me telling you last week about the practical jokes that had been
played on me by other musicians, I was reminded of the great Shot Jackson
and what he used to do to steel players who were working the Opry.
Since the Opry stage was only about 50 feet from the Sho-Bud repair
facility across the alley, Shot would run over to his workshop and get an
extra fretboard that would be the wrong scale and slip it on to Jimmy
Day’s, Weldon’s or Hal Rugg’s Sho-Bud.
So the higher up the neck the steel player played, the farther out of tune
he was. And of course, by the time they found out what the problem was,
the song would be over.
Another great trick Shot would pull was holding the pedal rods up to the
bottom of the guitar with rubber bands. So when the steel player ran out
on the stage to do his portion, he’d step on the pedal and it would go all
the way to the floor and not do anything.
You should have seen the look on Jimmy Day’s face when he totally blew the
intro on Crazy Arms, but what was even funnier was the look on Ray Price’s
face wondering what was wrong with Jimmy.
Shot was real bad about these practical jokes. Then there was one of
Shot’s protégés, Jerry Merhar that was playing with Ernest Tubb. Jerry
had just gotten a brand new Sho-Bud amplifier from Shot and told Shot that
he wanted the tone to go a little higher.
Shot said, “Don’t worry. I’ll make your tone go higher.” When Jerry
setup on the Opry stage to work with Ernest Tubb, Shot hooked the rear
curtain up to Jerry’s amplifier as Jerry was sitting his guitar up.
Shot yelled at Jerry and said, “Ready to go Jerry!”
Well, this would have been fine except on the Opry stage, when a new act
would come on the stage for their segment, the rear curtain would be
raised to expose advertising for the new sponsor. So Ernest Tubb walks
out on stage as the band hits Walkin’ The Floor Over You, the rear curtain
starts going up and the new Sho-Bud amplifier goes up with it.
The curtain goes up about 20 feet. There was an extra long AC cord that
Shot had rigged up so the crowd didn’t miss a note that Jerry was
playing. This was back in the day of the curly-que cord that many
musicians used. The amp kept going and going up. Jerry just kept
playing.
People in the audience were laughing and pointing and the unflappable
Ernest Tubb just kept singing. About the time the amp got to its highest
point, the coat hanger that Shot had hung it on the curtain with broke and
the amp came slamming down to the stage.
Of course, we all know what a reverb unit sounds like when it goes off.
Between the wham of the amplifier hitting the stage and the horrible
reverb sound and seeing that amplifier come flying down through the air,
the audience just couldn’t take it.
There was screaming and laughter and of course there was Shot in the wings
just off stage giving Jerry the okay sign. Though all this, Ernest didn’t
miss a note of Walkin’ The Floor Over You. And from what I understand, he
never said a word about it to anybody.
Then Shot came back and said, “There Jerry. Was that tone high enough for
you?”
Yes, I have some more equally funny Jerry Merhar stories. Jerry was a
steel player that worked with many name artists like Ernest Tubb, Loretta
Lynn, Ernie Ashworth, Vernon Oxford, Del Reeves and Hawkshaw Hawkins.
Jerry was of course, a real character, always played a Sho-Bud Permanent
and Sho-Bud amplifiers. He was of direct Indian heritage from Minnesota,
loved heavy equipment, owned two or three bulldozers and an 18 wheeler
Peterbilt truck.
I find this rather ironic being the steel player that he was. I was in
front of my store one day in Goodlettsville and I looked up the street and
he comes a brace of Clydesdale horses as beautiful as anything I had ever
seen. Equal to, if not as beautiful as the great Budweiser brewery
horses.
I ran out to the street to get a better look. As I got within ten feet of
these gorgeous horses and the wagon they were pulling, I heard a voice
from above me saying, “Seymour, what are you doing out here? Get back in
the store. You’ll catch cold.”
I looked up and it was Jerry Merhar driving this beautiful team. Of
course, I asked him immediately where he got these beautiful creatures, to
which he replied, “I have a whole herd of them.”
Nothing this guy ever did surprised me. Even though he went back to
Minnesota and isn’t playing anymore, he’s one of those behind the scenes
legends in Nashville. He also shows up at the steel guitar shows in St.
Louis every once and a while. If you get a chance to meet this nut, you
will be shaking hands with one of the legendary steel players from the
golden era of steel guitar.
This wasn’t Jerry’s last tragedy on stage. When he was working with
Loretta Lynn one night on the Opry, he did the first show after the break
which meant he had to set his guitar up right next to the opening
theatrical curtain that opens to the sides.
As you know, these curtains are made of very heavy material, usually some
kind of velour with a chain sewed into the bottom to make them hang
perfectly straight with no wrinkles.
So as Loretta turned around to the band and said, “Okay, let’s hit Coal
Miner’s Daughter. Count it off.”
About that time, the curtain started opening, moving to the side. Because
of the sudden movement, it started swinging fore and aft. Jerry’s guitar
was set up against it. When the leading edge of the curtain got to his
steel guitar, it wrapped around it and pulled the guitar totally off the
stage to the right.
And there was Jerry, just sitting on his pack-a-seat with his picks and
bar staring at the audience. I never heard what he did or said after
that. Oh, so much for the boring life of a steel player in Nashville.
When he and Shot were on the stage of the Opry at the same time, nothing
was sacred.
Remember, you can hear steel guitar music anytime you want it anytime your
computer is on. And you can hear it no matter what else you’re doing on
the computer. Just go to the Steel Guitar Nashville home page and hit
the link.
See our monthly specials at
www.steelguitar.net/monthlyspecials.html
Your buddy, Bobbe
Bobbe
har mycket att berätta från sina många år med Nashvilles toppartister. Jag
tar med hans brev lite då och då även i fortsättningen. Om ni inte orkar
läsa så är det lätt att hoppa över.
Till
sist vill jag berätta om MrMusic Country och den senaste utgåvan.
Inledningen med George Jones och Marty Stuart är superb. Låten är värd
priset på hela plattan. Övriga artister är Billy Yate, Rustie Blue, Bill
Anderson, Darrell McCall, Heather Myles och många fler. Om jag hittade
adress eller email till MrMusic Country så skulle ni givetvis få den här
men tyvärr, allt är skrivet i miniskrift så jag kan inte läsa de
uppgifterna ens med förstoringsglas. Så gammal är jag!
Vi
ses snart,
Janne
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