Country Nyhetsbrev
från
Janne Lindgren &
CountryMusicSweden

A  nonprofit organisation to promote country music
http://cms.vingar.se
 Nyhetsbrev från
oktober 2010 # 41 -  44

Under http://vingar.se  finns även http://country.vingar.se

Klicka här för att spara cms.vingar.se som favorit    

CountryMusicSweden

A  nonprofit organisation to promote country music and more

Sveriges hetaste nyhetsblad

Email: countrymusicsweden@comhem.se  

Nyhetsbrev  10041       5 oktober 2010      5  sidor

Det här nyhetsmailet kommer till er mailadress någon gång mellan fredag -  söndag.

Titta tillbaka på tidigare nyhetsblad på  http://cms.vingar.se  eller www.vingar.se

Så har vi haft ett steelguitarmöte igen i Sätra med bara speciellt inbjudna gäster d v s de äger en steel eller dobro. Meningen med dessa träffar är att jag vill se till att intresset för steel och dobro hålls uppe och därtill göra lite reklam för Steel Guitar Music. Till hjälp hade jag hustru Eva och dotter Sara med sin boyfriend Jonathan som serverade kaffe, mackor och kakor.

Ca. elva pickers kom den här söndagen och de mest långväga Berra, Cina och Johnny kom ända från Fristad. Berra hade med sin gamla Emmons push/pull och spelade några låtar för oss med Johnny kompandes på gitarr. Själv hoppade jag in och spelade,  solo inför publik på nästan 2 år, och det kändes inte så tokigt. Jag är glad att jag inte tappade stålet denna gång. Daniel spelade lite C6th för oss och Roland Junell lapsteel med några vackra hawaiilåtar. Cina sjöng också några riktig countryhöjdare.

Under tiden vi fikade och åt mackor så kollade vi på DVD med Lloyd Green och Tommy White då de duellerade sig fram i låtarna. Helt fantastiskt! Alltså en trevlig söndagseftermiddag med likasinnade.

För övrigt har jag i veckan fått några countrypublikationer t ex Krutstänket (kommer varje månad) och Country Post från Dalarna. Snart finns det så många som spelar steel i det landskapet så vi får kalla det Pedalarna (ett försök till att vara rolig). JL.

Howdy Janne,
 
just a few notes from Nashville, TN., U.S.A.
 
Went honky tonkin' yesterday night to Douglas Corner Cafe
on 8th Avenue South. Bus #8 taking us there very easily!
 
http://www.douglascorner.com/calendar.php
 
The artists appearing there this evening were: Mike Johnson-steel,
Hank Singer-fiddle, Joanie Keller-rhythm, vocal, Mark Johnson-bass, vocal,
Dirk Johnson-keyboard, Greg Galbraith-lead, unknown drummer and
featured singer, in the absence of Jimmy Melton, was Lance Miller.
 
Entrance fee a mere $5, front row table with 2 seats for me and Larry.
Good value for money at this wonderful venue.
 
Lance did lots of Merle, a real Hag attack! Steel and fiddle very prominent.
Mike Johnson was in good form and did nice licks on the steel. Solid
fiddle intros by Hank. "Borrowed Angel", "Girl Who Waits On Tables"
and "A11" all done by Mark was really fantastic!
 
Unfortunally the band 45 RPM only know the cover stuff so they couldn't
do Lance Miller's own great songs like "Beer's Not Just For Breakfast Anymore".
However it's not bad to hear Lance do lots of Hag songs either! Tony
Tolliver appeared and did his version of "Swinging Doors".
 
Lance remembered Sweden and told us that he will record with Bjorn Raita,
a k a Red Jenkins on November 1st. It will be done in Nashville and the song
will be "George Jones And Jesus" and the fantastic thing is that Jones will
be doing some vocal there too!  I would love to hear Mike Johnson on steel
with Red, but I guess the only musician this evening qualifying for this
session would be Hank Singer, the fiddle man...
 
The show ended close to midnight and we thanked the guys and the girl
for a wonderful show. Greg helped us get a ride with Mike's handy man!
10 minutes later we were back at Midway Motel and had nice coffee and
swedish cake!
 
Best Wishes,
 
Hank from SWEDEN 

Hej på er alla! (i Göteborg med omnejd. JL)

Nu på tisdag 5 oktober är det dags att åter dra igång föreningens tisdagsträffar. Som vanligt gäller kl. 17-19 men vid behov kan det bli längre och vi håller på varje tisdag fram t o m 14 december.

Platsen är den vanliga klubblokalen å, Kolonigatan 7, Göteborg, SE (Landala Egnahemsområde på berget ovan Chalmers Tekniska Högskola - buss- och spårvagnshållplats: Chalmers eller Wavrinskys Plats)

Vi fikar, lyssnar på den 'rätta' musiken, diskuterar den, oftast har vi ett tema och ibland talar vi om USA som resmål. Foton passande för temat kan ibland visas både som pappersbilder och iform av dia. (Det finns även massor av LP och CD i lokalen.)

En gång i månaden har vi en helt opretentiös gissningstävling (utan pris - bara äran) om att gissa vilka som sjunger på den kommande ännu ej utgivna Mr Music Country's månadsskiva.

Vill du ha någon artist eller delgenre av countrymusiken presenterad nu på tisdag (eller någon annan tisdag) meddela gärna mig. (Mejla mig - se nedan - och meddela då även ditt tel. nr.)

På föreningens vägnar önskar jag er välkomna.

THOMAS

Thomas Buskhagen
Country News/Sv. Countrymusikföreningen

http://www.countrynews.nu

Hello fellow players,

George Edwards, the great steel guitarist formerly with Hank Williams, Jr., Faron Young and 26 years with Kitty Wells and Johnny Wright has been coming by and visiting quite often which we love.  Two days after George retired from the Kitty Wells show, he suffered a severe stroke.

George is from northeast Philadelphia and was the king steel player from Philadelphia to New York City before his trek in the mid sixties to Nashville.  George’s first job in Nashville was with the great Faron Young show.  Then he moved on to Hank Williams Jr. and worked with Hank until Hank’s horrible accident while mountain climbing. 

While Hank was recuperating, George went back to Philadelphia.  As soon as Hank recovered, George went back to Nashville to work with him, but Hank had decided to take a new direction with his style of music.  The outlaw style that Hank was going into was a little foreign to George, so he accepted the Kitty Wells and Johnny Wright show job that had previously been held by Stu Basore and Russ Hicks.

George is still a fine steel player but has opted to spend his time fishing and collecting his royalties from the musicians union. much like the great studio musician Dale Sellers, who has invented and is producing a new line of fishing lures in the great north.  I just wonder how Dale’s deep southern accent is working in the northern Great Lakes area.

For the last many years George Edwards and the great Don Helms had breakfast together at Shoney’s in Hendersonville before George would take off on his morning fishing trips.  George confided in me that Don Helms death has really saddened his life.  I told him I think that his death had saddened many people’s lives.  Anyone that knew him.

So to end on a higher note and knowing that I would be writing about him in this newsletter, I asked George if he had any funny bus stories that I could tell in our next newsletter.  He was very quiet for a few minutes, raised his eyes, looked me in the face and said, “None that I can tell.”  I about fell of the chair laughing and I said, “I know what you mean George.”

Let’s remember and think about all the great steel players that have blazed a trail and opened a venue for all us steel lovers so that we can have more enjoyment and love in our own lives.  The golden age players are leaving us rapidly so please give honor and respect to those remaining.  Remember, if it wasn’t for them, you wouldn’t be reading this.

I have been asked many times recently about steel guitar bars and their differences.  We have stocked many different kinds of bars over the years at Steel Guitar Nashville.  There are a lot of differences in bars.  I’ve heard some people say, “What’s the difference?  A bar is a bar.”

There are many differences between the qualities a good bar should have and a poor bar that is being manufactured just to make the manufacturer money.  A bar has got to be hard enough that when it is dropped or hit it will not knick and get a blemish on it as this could be a very detrimental thing to your playing.

A technically soft bar with a knick in it will catch on strings and cause them to zing.  For this reason, a bar should be made as hard as possible.  Another reason it should be extremely hard is it needs to hold a polished surface.  The more polished a bar is, the better it will work as far as helping sustain goes.

There have been many bars built in the past that are just regular steel but chrome plated to keep them from rusting.  Unfortunately, the chrome can peel off.  This obviously is a very bad thing.  You may complain when you see the price of a good bar, but remember how the bar is built and what it is built of is of extreme importance.

The new Cobra Coil bar is built of the very hardest stainless steel obtainable.  It is ground to a high luster finish on a precision metal grinder, then sent out to be heat treated.  The heat treating makes this extremely hard bar much harder yet.  This bar is about as hard as could be imaginable.  It is then sent to a professional metal polisher and it is polished to an extremely high mirror finish.  These processes are quite expensive but they also produce the highest quality bar possible.

Just as I was ready to send this newsletter out, I got word from Scotty that Don Curtis had a heart attack and has passed away.  This is a shock.  Don and I were good friends.

Your buddy,

Bobbe

Howdy Janne,
 
just a few notes from Nashville, TN., U.S.A.
 
Went honky tonkin' yesterday night to Douglas Corner Cafe
on 8th Avenue South. Bus #8 taking us there very easily!
 
http://www.douglascorner.com/calendar.php
 
The artists appearing there this evening were: Mike Johnson-steel,
Hank Singer-fiddle, Joanie Keller-rhythm, vocal, Mark Johnson-bass, vocal,
Dirk Johnson-keyboard, Greg Galbraith-lead, unknown drummer and
featured singer, in the absence of Jimmy Melton, was Lance Miller.
 
Entrance fee a mere $5, front row table with 2 seats for me and Larry.
Good value for money at this wonderful venue.
 
Lance did lots of Merle, a real Hag attack! Steel and fiddle very prominent.
Mike Johnson was in good form and did nice licks on the steel. Solid
fiddle intros by Hank. "Borrowed Angel", "Girl Who Waits On Tables"
and "A11" all done by Mark was really fantastic!
 
Unfortunally the band 45 RPM only know the cover stuff so they couldn't
do Lance Miller's own great songs like "Beer's Not Just For Breakfast Anymore".
However it's not bad to hear Lance do lots of Hag songs either! Tony
Tolliver appeared and did his version of "Swinging Doors".
 
Lance remembered Sweden and told us that he will record with Bjorn Raita,
a k a Red Jenkins on November 1st. It will be done in Nashville and the song
will be "George Jones And Jesus" and the fantastic thing is that Jones will
be doing some vocal there too!  I would love to hear Mike Johnson on steel
with Red, but I guess the only musician this evening qualifying for this
session would be Hank Singer, the fiddle man...
 
The show ended close to midnight and we thanked the guys and the girl
for a wonderful show. Greg helped us get a ride with Mike's handy man!
10 minutes later we were back at Midway Motel and had nice coffee and
swedish cake!
 
Best Wishes,
 
Hank from SWEDEN 

Red Jenkins telefongäst

hos Geson på Radio Lidingö 97,8

En av pionjärerna inom countrymusiken i Sverige, Red Jenkins, kommer att vara telefongäst i programmet ”Go´förmiddag Lidingö” fredagen den 15 oktober på Radio Lidingö 97,8. Programmet sänds varje fredag mellan kl. 9,00 och 12,00 och programledare är Göran Geson. Förutom en intervju med Red Jenkins, så kommer det självklart också att spelas ett antal låtar med honom.

Göran Geson är även programledare för programmet ”Go´morron Lidingö”, som sänds varje fredag mellan kl. 7,00 och 8,30. Och bägge programmen inleds med låten ”Bra drag” med Mats Rådberg & Rankarna. Dessutom innehåller förmiddagsprogrammet ett inslag kallat ”Country Cookin´”, som innebär 5-6 countrylåtar på raken. Signatur till det inslaget är självklart låten med samma namn, även den med Mats Rådberg & Rankarna.

Radio Lidingö 97,8 hörs över större delen av stor-Stockholm samt givetvis även på Internet och då är adressen www.radiolidingo.se.

Hälsningar

Janne Lindgren

CountryMusicSweden

A  nonprofit organisation to promote country music and more

Sveriges hetaste nyhetsblad

Email: countrymusicsweden@comhem.se  

Nyhetsbrev  10042       11 oktober 2010      5  sidor

Det här nyhetsmailet kommer till er mailadress någon gång mellan fredag -  söndag.

Titta tillbaka på tidigare nyhetsblad på  http://cms.vingar.se  eller www.vingar.se

I veckan var jag tillsammans med dotter Sara och hennes kille Jonathan på Stampen i Stockholm och lyssnade på det trevliga bandet Lonnie &  The Lonesome Riders. Stampen är en av Stockholms äldsta musikkrogar med, hör och häpna, fritt inträde på vardagar. Därför blev jag mycket förvånad över att inte lokalen var proppfull av countryfolk. Björn Helgesson var den ende jag träffade på. Ingen annan från  t ex Stockholms Country Music Club (om den nu existerar fortfarande) såg jag till och det är ju nästan skandal med tanke på omständigheter som fritt inträde, ingen garderobsavgift,  bra band och trevlig publik för övrigt. Kan det bli bättre?

 Lonnie själv är en entertainer med lång erfarenhet av riktigt bra country typ Merle Haggard och Buck Owens och vid hans sida står Karin Risberg som har röstresurser så det hörs över hela Gamla Stan. Kunde hon bara komma ifrån det där Dolly Parton-köret så skulle hon snart hamna i topp på min lista över svenska countrytjejer. Nästa gång ”9 to 5” eller ”Jolene” dyker upp på repertoaren då går jag ut och tar en rökpaus trots att jag inte röker. Varför inte spela lite western swing istället?

Det svenger (f´låt Svengmans) gott om bandet men det är ju inte så konstigt då Lonnie har lyckats att engagera en bunt duktiga musikanter. Jag vill speciellt nämna gitarristen Hasse Rosén som har sina rötter i The Violents och som varit studiomusiker ända sedan barnsben. Jag skulle gissa att han varit med och lagt gitarr på 20-30 tusen låtar, allt från Sven-Invars till Vikingarna och alla annan musik som producerats i Stockholm. Även som producent har Hasse Rosén gjort sig ett namn och har t o m gjort egna instrumentala plattor varav undertecknad har medverkat på några av dem. En platta att nämna i det sammanhanget är ”Green Rose Rag” med Hasse och mig spelande både country och annat material (finns på YouTube).

Nåväl, helheten på kvällen på Stampen var kanon med ett band som vet var skåpet ska stå. Trots det så har de knappast några andra engagemang!?! Men anledning till uteblivna jobb beror förstås i första hand på att Lonnie och co. inte gör så mycket väsen av sig på PR-sidan. Dags att slå en signal  till Tommy Löfgren igen som driver flera ställen bl a Lidafestivalen och som även övertagit min roll på Boulet & Tapas.

Tack Mikael Karlström för plattorna med Lloyd Green. Skivorna heter Peter Cooper The Lloyd Green Album och Eric Brace & Peter Cooper  Master Session. Lloyd gör ett kanonjobb här och man påminns väldigt mycket av hans jobb på Johnny Paychecks fina inspelningar på märket Little Darlin´ från mitten av 60-talet. Kul att Lloyd Green än en gång får den uppmärksamhet han är värd.  JL.

Välkomna till Club Svengmans

(sprid gärna denna info vidare)

 Dags igen!…. Onsdagen den 13 oktober på Enskede Värdshus - Festvåningen eller Glashuset.!

(Enskedefältet, korsningen Sockenvägen - Bägersta Byväg) Öppnar kl.18.15, men OBS! musiken börjar c:a 18.45 (slut c:a 21.30),

Kom i tid för det brukar bli knökfullt. En symbolisk frivillig entré med minst 40:-.

Mat och dryck till Svengmans-priser!

Program för en helkväll med akustisk bluegrassmusik

- husbandet Svengmans Collage startar upp och varvar

- gästande band är Sticks and Stones, ett ungt och och begåvat gäng som spelar mjuk alternativ bluegrass.

  Kolla/lyssna gärna på http://www.myspace.com/sticksandstonessthlm

Här finner ni Värdshuset (mitt emot Enskede Ridskola på Sockenvägen) www.enskedevardshus.se

- T-banelinje 19 mot Hagsätra till Enskede Gård, gå genom parken.

- Buss 144 från Gullmars eller Fruängen eller Älvsjö Stn till Enskede Rackethall

- Tvärbanan till Linde och en rask prommis på 5 min.

- Dessutom cykelställ och gott om bilparkering - kan det bli bättre?

 Här finner ni Svengmans  www.svengmans.info 

Mer info per telefon 0705-191 191 (Kenneth)

Välkomna till Club Svengmans

Svenger som faaaaaaaaaaaaaaaaan!

- Lyssna till Bluegrass/Oldtime och Countrymusik hemma vid datorn på www.obcmusic.se.

- Årets sista Club Svengmansblir den 17 nov, gäster Bowmore (Anders, Tina & Maggan) samt

   världspremiär för en kvartett kvinnliga musiker med bl.a. Rachel Eddy och Edith Gest.

SCC-NYTT MEDDELAR

Vi kan nu erbjuda nyhetsbrevsläsare att bli medlemmar i Smålands Country Club för resten av detta år (2010) för 50:-

I medlemskapet ingår ett medlemskort i föreningen samt två nummer av countrytidningen SCC-Nytt (höstnumret som kom ut i september och julnumret i december).

 Vi hoppas att på detta sätt kunna få se många nya, nyfikna, countryintressade som medlemmar i föreningen. Det förekommer inget som helst tvång att fortsätta medlemskapet efter årets slut.

Bli medlem genom att skicka er adress till Marcus Thell på e-post:

marcus.thell@home.se

Inbetalning av de femtio kronorna görs genom att sätta in pengarna på Smålands Country Clubs Postgiro: 78 16 30-9.

(Deras klubbtidning SCC-NYTT är en av de bästa i Sverige med massor av intressanta artiklar, skivrecensioner och annat av countrymusikintresse. JL ).

 Red Jenkins telefongäst hos Geson på Radio Lidingö 97,8

En av pionjärerna inom countrymusiken i Sverige, Red Jenkins, kommer att vara telefongäst i programmet ”Go´förmiddag Lidingö” fredagen den 15 oktober på Radio Lidingö 97,8. Programmet sänds varje fredag mellan kl. 9,00 och 12,00 och programledare är Göran Geson. Förutom en intervju med Red Jenkins, så kommer det självklart också att spelas ett antal låtar med honom.

Göran Geson är även programledare för programmet ”Go´morron Lidingö”, som sänds varje fredag mellan kl. 7,00 och 8,30. Och bägge programmen inleds med låten ”Bra drag” med Mats Rådberg & Rankarna. Dessutom innehåller förmiddagsprogrammet ett inslag kallat ”Country Cookin´”, som innebär 5-6 countrylåtar på raken. Signatur till det inslaget är självklart låten med samma namn, även den med Mats Rådberg & Rankarna.

Radio Lidingö 97,8 hörs över större delen av stor-Stockholm samt givetvis även på Internet och då är adressen www.radiolidingo.se.

AFF -  FEST OCH KONSERT

Hägerstensåsens Medborgarhus

Riksdalervägen 2

27 november

Mat och dryck och mycket music!

info@aff.se

AFF Jubiléumsfest - 20 år -  27 november (saxat från deras hemsida. JL)

Ett tack också till Dalarnas Country Music Club som skickat mig The Country Post. Alltid trevligt att läsa och i detta nummer tackar man speciellt Tommy Backström för sitt långa jobb med jamkvällarna. Jag vill instämma och hylla denna genomtrevliga och duktiga musikant som jag själv fått äran att spela med vid ett flertal tillfällen.  JL

Hello fellow players,

As most of you know, there is a hard country channel out there that features programming geared to good old country folks that are genuinely the salt of the Earth.  No programming about killers, drugs, politics or any of the subjects that you can get anywhere else on television.

RFD gets right down to folks that love great country music, John Deere tractors and every other kind, how to fertilize your fields and prepare your livestock for market.  What the real cowboys are doing today.

It’s so wonderful to be able to see good old country music, whether it’s Big Al’s Polka Band, Marty Stuart, Porter Waggoner, great old Hee-Haw re-runs or my favorite, because he’s still paying me, the great Stan Hitchcock.  What a great channel for pure entertainment.  I never have heard a discouraging word on this channel.  And yes, the skies seem to be clear all day.

If you don’t have or cannot get RFD-TV, make some phone calls or look it up on your computer and find out what’s going to have to be done for you to receive the wonderful new way to enjoy the boob-tube. 

There is steel guitar everywhere from Steve Easter on the Gaither’s to Gary Carter with Marty Stuart.  And yes, I’m occasionally on there with Stan Hitchcock.  After all, somebody has to show the kids how to do it.  If you love country music, fresh air and beautiful scenery, RFD is a wonderful way to do it.

Throughout the run of Hee-Haw in the early seventies, I would sub for Curly Chalker and worked several shows.  Stu Basore and Hal Rugg would also sub for Chalker as the four of us were very good friends.  Stu had some seniority over me in Nashville in those days, but that was a pretty fun show to play. 

I’ll never forget when we were running through a tune one day that was something that lends itself to the Merle Travis style, so when Sam Luvella suggested I do the instrumental break, I immediately took off in a Merle Travis – Chet Atkins style musical interlude, to which Jackie Phelps came tearing across the set screaming, “Stop, stop.  Stop the cameras.  I do that.  That’s my thing.”

So rather than starting a fist fight in the middle of the Hee-Haw set, I busted out laughing and took an E9th turn-around.  Later Jackie and I turned in to very good friends when he started hanging out in my steel guitar store.  Of course, we’d still argue about the correct way to play Merle Travis style guitar.

Jackie was quite a nut which is one reason why he was hired on the Hee-Haw show.  One of my favorite characters on the Hee-Haw show was Jimmy Riddle.  A lot of people thought that he and Jackie were partners in comedy, but alas, no way.  Jimmy Riddle did all the hambone and harmonica work on Hee-Haw.  He also played harmonica well enough that he was in quite high demand for harmonica in the recording studios, his chief competitor being Charlie McCoy.

Jimmy spent many years in the band with Roy Acuff.  Jimmy also played rhythm guitar with Roy Acuff.  He used to like to sit down behind my steel guitar during a recording session and give me his opinion of what I should sound like.  One of the nicer people that ever graced the city limits of Nashville.  Jimmy died several years ago but has left a hole in the hearts of many in this town.

Be sure to catch Hee-Haw on RFD-TV.  I’ll be a trip down memory lane for those of you  old enough to remember and it’ll be a fun history lesson for those of you too young to remember.  Just remember, please support anyone that supports the things you love.  You’ll make a happier life for both of you.

Just like the automotive world, there are some brands of steel guitars that seem to rise above the rest as far as quality goes.  We all know what a good guitar is and after going to many shows and seeing what many people are playing, I’m realizing that the Mullen steel guitar is a very respected work of art.

I sell hundreds of GFI steel guitars a year and never have any complaints.  As a matter of fact, my GFI customers are very happy with what they have. 

Your buddy,

Bobbe

Det var allt för denna gång, ha nu en fin vecka!

Janne Lindgren

Följande saker har jag på gång in:

Lapsteel Tenayo 6-string

Spelstål Dunlop 921

Dunlop 018 Finger Picks

Dunlop Zookies Large 20 Thumb Picks

Fender Plectrum

CountryMusicSweden

A  nonprofit organisation to promote country music and more

Sveriges hetaste nyhetsblad

Email: countrymusicsweden@comhem.se  

Nyhetsbrev  10043      19  oktober 2010      6  sidor

Det här nyhetsmailet kommer till er mailadress någon gång mellan fredag -  söndag.

Titta tillbaka på tidigare nyhetsblad på  http://cms.vingar.se  eller www.vingar.se

Oj, det har hunnit bli tisdag redan! Här lite nyheter från mig!

Jag hade besök av Roger Gustavsson, som spelar med Jill Jonsson, i veckan som gick. Han ville köpa en Sho-Bud-del som jag hade liggande. Den delen hade gått sönder på hans gamla nyinköpta steel. Det finns ett litet problem med just gamla amerikanska steelar, de är oftast byggda med undermåligt material. Utseendet har varit den viktigaste punkten. Materialet man använde kom i andra hand. Men som tur är så har den inställningen förändrats till det bättre nu för tiden.

Tack Roger Cedervall för plattan med gruppen Midland. Jag gillar den trots att det inte är helt min likör eftersom den hör till den senaste lite mer rockigare countryn. Men vad gör det då bandet är tight och har spelglädje. Ett typiskt festivalband där det fordras lite ös för att få igång publiken. Och vilken bra sångare Rickard Einebrandt är! Jag skulle gärna vilja höra honom sjunga några gamla fina Merle Haggardlåtar. Men det kanske är för mycket begärt i dessa moderna tider?

Tack Uffe Ede´fjun för självporträttet, alltså kortet du skickade från Grekland.

Tack Rosa och Torbjörn för vykortet från er rundresa i USA. Och vilken resa sedan: New York, Pennsylvania, Washington DC, Smokey Mountain, Nashville, runt i Texas och Lost Maples State Natural Area. Oj, en resa jag skulle kalla “Looking At The World Through A Windshield” JL.

Sommaren har känts lång för oss som gillar countrymusik men nu är väntan över.....Janne Lindgren har publicerat ett nytt Country, Country Music program (ccm21-10).Lyssna och njut. Klicka på radion.

www.obcmusic.se
- gives you good country music to your computer -

Och vill ni uppleva levande countrymusik så blir det ett bra tillfälle den 30 oktober när Stockholm Hoedown har höstens andra evenemang på restaurangen Boule & Tapas, Slakthusområdet. - faktiskt också årets sista!

På scenen WOODSTATE, country från Sundsvall, och bluegrassgruppen STICKS & STONES. 100 spänn i entré. Öppnar kl.18.00.

Kenneth

Hej Janne

Tänkte tipsa dig om att min talangfulla fru fått med ett bidrag till melodifestivalens webbjoker.

Kanske inte riktigt är country men roligt i allafall. Nu får man ju hjälpa till att "puffa" för henne så det vore kul om många gick in och kikade/röstade.

Här är länken till webbjokern:   http://svt.se/2.143159/

 Mvh   Ermin 

Howdy!
Playlist 10/18/10 Country Corner
Mon 8-10 Pm on radio Viking Sweden
Sincerely
Peter Ahlm
Dj

Janne Lindgren***By and by^^Steel Guitar Music
Bill Anderson***If I could hear mu mother praying^^Bill Anderson
Shane Tecza***Heavenly home^^Glory Train Records
Kitty Houston***Angels Everywhere^^E.H.King Music
Hal Willis***I wanna sing about Jesus^^Pearl Int. Records
John Lord***Lord of love^^E.H.King Music
Marla Ratliff***He Knew me^^Rhonbob Promotion
Steve Cee***Mercy Train^^Country Discovery
Allen Karl***No one ever cared for me^^Century II Records
Bill Crozier***Old country preacher^^Glory Train Records
Becky Redels***Mighty hand^^Glory Train Records
Brazosgrass***Springtime in heaven^^Stardust
Clint Miller***Sweet by & By^^Glory Train Records
Gary R. Smith***The gambler wins^^Hope street music group
DeLon***Think about when Jesus^^Artist´s Carousel
Cheryll Woodall***Well I´m goin’ down the highway^^Circuit Rider Records
Willie and Bobbie Nelson***When we all get to heaven^^Willie Nelson
Mike Haduck & The Hapeman Singers***Why don´t you step in my boat Jesus^^Hanging Tree Records
Pilgrim***Tiger by the tail^^Dusty Records
Leland Harding III***Average Joe^^CRS/Comstock Records
George Highfill***Oklahoma´s home to me^^Church Street Records
Tobacco Jam***Pigs eye blues^^Tobacco Jam
Anni Filt***Back in your arms again^^Anni Filt
Joe Paul Nichols***There´s a star sprangled banner^^Heart of Texas Records
Hallur Joensen***Why should we try anymore^^Hallur Joensen
Michael Thomason Band***Mobile phone blues^^Beegum Creel Rec./Comstock Rec.
Britni Hendrickson***Drive me cracy^^^Westwood Int.Records
Svengmans Collage***Here I am I love again^^Svengmans Collage
Mike Lane***Everybody here loves country music^^Comstock Records
Aage Oagee Nordheim***Out of range^^ Aage Oagee Nordheim
Allen Karl & Amberley Beatty***We go together^^Star Creek Records
Lovett Sisters***Why don´t you love me^^Lovett Records
Marty Stuart***If you wantedme around^^^Marty Stuart
Bo Ladner***If I give my soul^^KMA Records
Mike Haduck***Red river valley^^Hanging Tree Records
Highway 40***Hurricane^^Captive Music
Charlie Louvin,W.Jennings & G.Jones***Country boy´s dream^^Stardust
Dave Owens***I´ll go down swingin^^TCR Records

 

Hello fellow players,

This newsletter is going to be about the musical world of the sideman or steel guitar in particular.  We jokingly call this thing we’re in the world of steel guitar, but in truth that’s exactly what it is.  We have our presidents, governors, manufacturers, those that are involved in politics in the steel guitar world and just like the other world we live in, which is the one that everybody else lives in, our steel guitar world is complex, entertaining and overall just the way of life that we have chosen.

Just look at the hundreds or thousands of people that you know or have heard of because of our love of this wonderful instrument.  Look at the people that are not in our world and feel sorry for them because they don’t know who Buddy Emmons, Jimmy Day and Curly Chalker were or what they have done to affect the lives of so many.

Most of you reading this newsletter can turn on your television and when you see the Conway Twitty clip in the middle of Family Guy, you’ll know that it’s John Hughey playing the steel guitar and possibly enjoy the clip more than you’ll enjoy the cartoon.

When you go to a major steel guitar meet, you’re in the heart of this musical society.  You can meet the most famous players in the entire world and get at least a smile and a handshake out of all, with a possible big hug from many others.  Most of the people that you meet that are great players that you have heard of all your life are 100% sincere when they tell you they were glad to meet you.

Just think about it.  You’re in a world that you would never be in if you didn’t like steel guitar and didn’t get hooked on it.  I am in and have been in several other exclusive societies.  Being a car collector, pilot and rifle marksman, I find that the world of steel guitar lovers and music is a much closer knit society than many others.

I guess I know thousands of steel guitar people and many can’t believe that I remember them and the last conversation I had with them even if it had been over twenty years prior.  The reason I can remember so well is because I genuinely care about everyone that I meet in this world of steel guitar.  It’s so wonderful to hear about someone that is working in an out of the way region with a group and making decent money.  It’s so good to meet someone with a strange accent that has got the same passion about steel guitar that I have.

I want to know what kind of guitar everybody’s playing, what kind of amplifiers and assorted equipment, what television shows are influencing their playing and in general, everything that has influenced them as a player forever.  I like to hear opinions that people have about where things are going in the future.

Forty years ago I did an interview for Guitar Player magazine.  This magazine was trying to get off the ground and in its infancy when they interviewed me, Bobbe Seymour, Sneaky Pete and Rusty Young.  We all poured our hearts out to give them as good an interview as could be done.  But trying to contact them now, no matter what I do, I can’t even get them to return my phone calls, but remember, they are just regular guitar players.  Sure things have changed in forty years, but I do feel that myself, Sneaky and Rusty did our part to give them a good kickoff in the right direction and being one of the biggest guitar magazines in the world today, some recognition to what the three of us have accomplished in this world would be very nice.

But this goes back to what I’ve been saying in this letter, if they had some steel guitar players on staff at guitar player magazine, I’m sure we would have been remember.  The society of steel guitar the world over, it seems to be a true winner here. 

Players in our little world and those that care so very much about us are the salt of the Earth.  Players like Tom Bradshaw in California, Bobby Lee Quasar in California, DeWitt Scott in St. Louis, Bob Mackle in New York, Bill Vanderpool in Lexington, Kentucky and the hundreds of show promoters who put on steel guitar shows yearly in Ashtabula, Ohio and Branson, Missouri and Griffin, Georgia and Saluda, South Carolina and Dallas, Texas and Arizona and New Mexico have a big show every year now with no telling how many smaller club shows are going on that I don’t hear about.

These guys are not necessarily known for their playing as much as they are known for their organizational skills and for promoting steel guitar and the rest of us that play it.  These guys are important if not more important than any player there is in keeping our little world united.

To me, every one of you in this world of steel guitar are just as important as anybody else.  Don’t ever think you’re not.  There are hundreds of steel players that I’ve met in the last thirty years that have died and left our little steel guitar world and I remember everyone that I have ever met, whether I have met them on the telephone or through email.  I just want to tell you all that you have made my life very rich in friendship, humor and everything else that life can do for you.  Stay in touch and take care of yourself and remember that I’m always here to do what I can do for you even if it’s to make you feel good about yourself for being a steel guitar player.

Your buddy, Bobbe

Hello fellow players,

Many people have asked me how to approach charting and setting up for a session.  A session is a strange thing musically.  You can play the greatest thing that ever was, nobody will pat you on the head or jump up and scream your name or even shake their head and say wow until it’s gone through its many processes and is sold to the final consumer.

But how you set yourself up for this session can determine whether you will be hired again ever or not.  That old expression, you’re only as good as your last recording session, seems to have a lot of truth to it.  You can play incredibly well and nobody will say much of anything to you, but if you don’t play that well, chances are you’ll never hear from the producer again.

One thing I’ll say immediately is when somebody is paying you three or four hundred dollars a session, you had better have your act together.  Show up in the studio thirty to forty five minutes ahead of time.  If you have a cartage company carrying your equipment, you be there when they show up. 

Talk to the engineer.  Find out where he wants everything.  Keep a very happy, cheerful expression on your face.  Shake hands quickly and get back to setting up.  A good fifteen minutes before the starting hour, be ready to start playing.  This way if there are any slight variations in the air temperature where your guitar came from and where you are, it won’t show up in your tuning.

Speaking of tuning, that’s another can of worms that would take three or four of these newsletters to get through, so we won’t do it now.

When the guitar player comes in and says he’s ready to go, don’t be shocked if he’s not in tune with you in your opinion, as he has a total different set of rules to tune by.  Remember, he’s stretching the strings, pushing them down to the fretboard and the fretboards on guitars tune chords differently from key to key.  A guitar that’s perfectly in tune in the key of C is out of tune when you play an E chord, but then again I’m sure you all know that.

Pianos are tuned in their own piano kind of way so don’t worry about anybody’s tuning but your own.  A Peterson tuner that is adjusted for tuning the steel guitar is the fastest, easiest, most perfect way to have consistent tuning every time you sit down.  If you are tired of fighting the guitar player, bass and drummer every time you sit down to play, the Peterson Strobo-Flip is the perfect way to get through all your troubles.

I am aware that many different people read these tips newsletters with a varying degree of expertise.  Some of you are barely playing and others of you have been professional musicians for years.  The things that I cover like this subject can be used and taken advantage of regardless of where you are on the playing scale.

Like I said about being prepared, when you walk in the studio or any other very important job for that matter, have a large eight and a half by eleven pad and a heavy black wide tip magic marker because many times you will need to make changes on the charts you are being given and other times you won’t even be given any charts but you’ll have to write you own in a numbered short hand system.

If you cannot read the Nashville short hand system which is what it has been universally called, even though it doesn’t have any more to do with Nashville than any other city.  If you can’t use it or read it, you shouldn’t be in the studio.  There is no excuse not to learn the system as it is extremely easy to learn correctly with books and CDs available from us and several other places.

The book and CD are available for around twenty dollars on our website.  This gives the musicians a very quick and easy language to communicate in. 

So far you’ve shown up ahead of time, well rested, having left your personal problems at home, your guitar is set up and tuned, you’ve got your music stand in front of you with your pad and magic marker on it ready to write. 

During the first run through of the material which you’re going to be recording, you and the guitar and any other lead instrument will be deciding who will be playing where.  We’re talking lead now, not rhythm as most rhythm instruments will play from beginning to end, the lead instruments will not.  They will have predetermined spots to play on the song.

If the rhythm section is playing a four-four shuffle, the piano should be playing this from end to end with no turnaround fills or instrumentals.  Of course, a fill in instrument should not be playing over the words but smoothly playing between the words and phrases.  Small sustaining pads at times are acceptable depending on the song, rhythm feel and producers opinions.

When the session is over, don’t go running to the control room demanding to hear what you’ve done.  However, if it is being played back as the producer and engineer are checking certain things, there’s nothing wrong with going into the control room, keeping your mouth shut and quietly listening to what you did.  At this time if you hear something you did that you feel could be a lot better, you may suggest it to the producer saying something like, “Gosh.  I can really do something a lot better there.”

The producer may look at you and say, “No.  That’s fine.”  Or, “Yeah, go ahead.”

But just remember, he may not really know himself.  That’s why he’s a producer instead of a musician.  He may know good from okay, but he doesn’t play anything well enough to do it himself unless he’s like Fred Carter Jr. or Chet Atkins.

Don’t spend any time at the end of the session being obviously political.  Don’t go up to the producer, slapping him on the back, telling him how handsome his shirt is and shaking his hand over and over and asking him when the next session is.  Stay out of his way, only answer his questions and keep a smile on your face through everything.  Do this and you’ll be a good session player forever.  There are many session players that really don’t play real well that are making tons of money because they follow the right rules.

I have worked with very successful studio players like Glen Campbell, Roger Miller, Grady Martin, Bob Moore, Dale Sellers, DJ Fontana, Jerry Reed, Buddy Harman and the list goes on.  These guys all conducted themselves with a certain amount of flair and never really offended anyone.  And this is what you have to do.

I personally would never consider being a studio musician again, but then like several other people that did this, I have moved on in my life to what I think are more interesting endeavors, one of them I’m doing right now.  I wouldn’t take anything for my studio career, but unlike many other musicians, life has opened several other doors for me.  The world of music is an incredible thing.

Your buddy,

Bobbe

Det var allt för denna gång, vi hörs till helgen.

Janne Lindgren

PS Glöm inte att lyssna på www.obcmusic.se  Massor av country och bluegrass. DS

CountryMusicSweden
A nonprofit organisation to promote country music and more Sveriges hetaste nyhetsblad
Email: countrymusicsweden@comhem.se
Nyhetsbrev 10044 25 oktober 2010 4 sidor
Det här nyhetsmailet kommer till er mailadress någon gång mellan fredag - söndag.
Titta tillbaka på tidigare nyhetsblad på http://cms.vingar.se eller www.vingar.se

Tack Thomas Carlsson för boken ”En liten bok om Dansband” som skrivits av bl a Thomas. Den ska bli mycket intressant att läsa. Tack också för CDn!
 

Seniorkort - Ånedinlinjen [seniorkort@anedinlinjen.se]

Bli medlem i klubben och du får ibland erbjudande som lyder så här: Kryssa till Åland från Skeppsbron med klassiska Birger Jarl GRATIS! Ingår: del i B-hytt, smörgåsbord på ditresan och skärgårdslunch på hemesan. Allt utan kostnad och därtill underhållning av hög klass med bl a Roffe Larsson.

Den 9 november måste ni komma till Stampen i Stockholm där Lonnie och hans gäng spelar den kvällen. Gratis inträde och en fin stämning brukar det vara och den här gången överraskas vi med att få höra en alldeles nystartad tjejtrio som gör premiär. JL.

Hej !

Inatt kl.05.25 avled MIN ÄLSKADE bror Sören, efter att i tisdags kväll

fått en hjärnblödning varandes på akutmottagningen på Falu Lasarett,

jag var med honom från tisdag till slutet!!!!!

Enda "trösten" är att hans utsikter till ett "värdigt liv" vid en ev överlevnad

sågs som helt utesluten därtill var den orsakade hjärnskadan för svår, den var

icke opererbar enligt läkarna, han föll i djup koma och slutade att andas kl 05.25 !

Det kommer aldrig mera att bli detsamma utan honom men vi är förtröstansfull att

han får träffa nära och kära som "gått före"

VILA I FRID BRORSAN !!!

Den som vill veta mera kan ringa mig

Egon

PS. Begravningen blir på fredagen den 29/10 kl 13.00 Se även dödsannonsen tisdagen 26/10. DS

Sonen Charlie m. fam, samt syskon med fam.

Tänk gärna på någon fond, om ni ömmar för någon särskild !!!

Urban Hådén
070 2122005 Söker steelspelare i Stockholmstrakten. JL.

Hej Janne och stort tack för dina välskrivna Nyhetsbrev jag läser med intresse . Tyvärr så har jag en spelning den 30 oktober och kan tyvärr inte komma till Boule och Tapas den här gången !!  Jag spelar stadigt med Svenska Järnvägsmäns Blåsorkester och vi har en konsert just den här dagen . Jag får spela lite marschmusik och efter noter som är bra för rutinen för en gammal trumlärare och countrydiggare.

Ha det och hälsa så gott till familjen från pensionär Jonny.

P.S   Jag kommer ut och hälsar på så fort dessa konserter är över D.S

Hej Janne!

Hoppas du mår efter omständigheterna väl.

Tänkte meddela att jag sticker till Nashville på tisdag och lirar in en ny CD med gästartister bl.a Leona Williams, Billy Yates, Dawn Sears mfl.

I början på året blir det en avstickare till Brady, Texas och San Antonio för att göra ytterligare en CD "Texas Style" med mina countrypolare från Texas.

Den 27 november uppträder jag på Ulvsätra Julshow i Kallhäll och den 11 december blir det julshow i Avesta med bl.a Amber Digby från Texas. Självklart blir det "Stone Country".

H-ar Red Jenkins
 

Vår kamrat Eddie Eriksson (som var ekonomisk ansvarig att Bobby Flores kom till Hägersten för några år sedan) mår inte så bra just nu så har ni lust att skicka ett krya-på-dig kort till honom blir han glad. Adressen är Eddie Eriksson, Bågspännarv. 5, 132 43 Saltsjö Boo. JL.

Hej.

Countrystjärnan James Intveld (USA) har äntligen kommit till Sverige och spelar på puben The Liffey - River Club på Stora Nygatan, Gamla Stan Stockholm den 25 november. Som förband spelar rock'n roll legenden Ant McMahon (UK).

Inträde 150kr.

Facebook: http://www.facebook.com/event.php?eid=155024554536742

Sprid det gärna vidare. Välkomna!

Kenny Dannberg, Arrangör 070-2052032

Hej, Helt kort vill jag bara tala om att Dalarnas Country Music

Clubbs Nr 142 av Country Post finns på webben. www.countrypost.se  

Björne i Smedjebacken=

Hello fellow players,

I’m going to address the first part of this newsletter to what we can call the grass roots players. These are the guys and girls that love to play their instrument in the best way possible around the house, at the Grange Hall, at the VFW or anywhere with their local friends, at the drop of a hat.

These are the wonderful players that play as good as anybody in the world, but don’t care if the world really knows it or now. These are people that know everything about steel guitar, even down to what Buddy Emmons had for lunch, but only appreciate steel guitar for it’s incredible sound.

Many times a week, I’ll be in my office in my store answering questions on my computer and talking to customers on the phone and somebody will walk in the showroom, sit down behind a steel guitar, start playing and astound everybody within hearing distance. I’ll jump up and look in the showroom to see who it is and it will be someone I’ve never seen or heard from before.

These players are playing as good as anyone I’ve ever heard at times and don’t really care who knows it. They put a real smile on my face. I find that many of them have been playing all their lives, but have businesses of their own and have never chosen to sell their abilities on steel guitar.

Consequently, you will never see me laughing at or putting down any steel player, because chances are, they might make me look like a pauper. I love being astounded and amazed by these guys. I would much rather be amazed by an unknown that have some ultra famous steel player come in and play me licks that I’ve been hearing him play his whole life.

I just want you all to know that I realize there are probably some monster players reading this that can astound the finest. All I can say is keep it up and don’t quit your day job to turn your playing career into money because it’s possible that it could turn a wonderful, fun hobby into intolerable work. You’re obviously playing steel guitar for just the pure love of doing it.

I was just thinking how steel playing has changed over the past forty years. Looking at the calendar, forty years ago this month I was on the road playing for Ray Price. He was 52 years old and I thought he was ancient. I realize now he was just a little kid.

I was with the big 21 piece band he had, playing my new David Jackson built Sho-Bud cross-over, about to start playing my Emmons push pull. I had a Fender Twin amplifier with a remote Echoplex. I did not have an effects rack, however within six months every player out of Nashville would have an effects rack with all the silly things to obscure your tone, like compression, EQ, chorus and phase shifter.

These things hung around for awhile, but by 1974 they were starting to fade away. By 1976 the pure tone of the steel guitar with a slight amount of reverb and possibly a taste of echo would be in vogue again.

In the late seventies, everybody thought stereo was the way to go. Steel players started carrying two amps, a stereo volume pedal with a stereo effect. By the time he got his two amps and effects to the stage, he couldn’t play because of the hernia. Within a few months, steel players realized that the stereo effect could only be appreciated by themselves and not by the audience because the double speakers that had to be carried were too close together for the audience to get the stereo effect.

Also, when stereo is mixed on a record, if everybody goes stereo, it’s the same thing as mixing one big mono. Think about it. Now days, there’s no rack, just one amp, possibly a little echo stomp box and that’s about all you’ll see the finest players using. You’ll see guys using more, but they probably won’t sound any better or as good.

Speaking of amplifiers, the old Sho-Bud amp that was built by Caineth Cain was probably one of the greatest sounding amps for steel guitar that ever was. These were built in a little rented building in east Nashville on Douglas Avenue. This is the section that you could only visit today with a Sherman Tank and be sure to have the 80mm Howitzer loaded when you visit.

The circuitry on these amps was brutally simple, but they did not hum or hiss, put out an intelligent amount of power and weighted very little even with their fifteen inch JBL speakers. These amps are worth quite a bit of money today and actually sound much better with more power than the famous old Standel Tube amps.

These amps were designed with a beautiful control panel on the front of the amp that lit up with many colours and was extremely easy to read under any conditions. It was two channel amp with no mid-range control. Tone was delicious. Caineth Cain was asked by many players to build one with a middle control, so he built a single channel amplifier with a panel that did not light up, with the same circuitry as the light up panel that soon was to be called the Christmas Tree amp, for obvious reasons.

These amps were used by Fred Newell and Larry Sasser on the Nashville Now television show, Jimmy Day and Gene O’Neill on the road with the major stars they worked for, Ron Elliott, Jimmy Crawford, Hal Rugg and were the staff amps on the Opry stage. I myself owned several of them and all of them were excellent, but Pete Drake had one of the best sounding ones I think I ever heard.

Both of these model Sho-Buds amps were astounding in tone, dependability and weight. If you can find one today, buy it. You won’t be sorry and you won’t lose any money. Don’t ask me if I have one, because I don’t.

Your buddy,

Bobbe

That´s all folks!

Janne Lindgren

Tillbaks till nyhetsbrev!