Country Nyhetsbrev
från
Janne Lindgren &
CountryMusicSweden

A  nonprofit organisation to promote country music
http://cms.vingar.se
 Nyhetsbrev från
november 2010 # 45 - 

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CountryMusicSweden

A  nonprofit organisation to promote country music and more

Sveriges hetaste nyhetsblad

Email: countrymusicsweden@comhem.se  

Nyhetsbrev  10045     5 november  2010     7  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

Nu går vi mot mörkare och mörkare tider och man håller sig mest inne. Jag själv sitter nu rätt mycket i min lilla musikstudio och leker. Men då finns det också tid att t ex öva på sin steel eller dobro. Kanske gå igenom det kursmaterial man redan har i sin ägo. Har man inget nytt och kul så kolla in mina lagerlistor. Kanske kan ni ´hitta något intressant där? Nåväl, här lite nyheter.

Lonnie & the Lonesome Riders med bl a Hasse Rosén (gitarr) och Karin Risberg hittar vi på Stampen i Gamla Stan i Stockholm tisdagen den 9 november. Bandet börjar omkring 21.00 och det är fritt inträde hela kvällen. Överraskningar blir det i form av en nystartad tjejtrio som kommer att sjunga en Buck Owenslåt tillsammans med bandet. Om det blir fler låtar beror på er i publiken. Tjejerna är Carolina Åkerlind/Järnklev, Erica Skoglund och min dotter Sara Lindgren. Kom och se och lyssna på denna unika kombination.

Förra gången Lonnie och hans gäng var på Stampen så klagade jag på att det inte fanns mer än ett fåtal countrymänniskor i lokalen. Men det var en engångsföreteelse, eller hur? Nu på tisdag träffas vi på Stampen och lyssnar på Lonnie och hans förnämliga gäng. Gästartisterna får ni som bonus. Och glöm inte att inträdet är fritt. Kom och drick en pilsner med likasinnade! Detta är inget förslag, det är en order!!!

Välkomna till Club Svengmans

 OBS! Årets sista Onsdagen den 17 november på Enskede Värdshus - Festvåningen.

(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 bluegrass- och oldtimemusik

 - husbandet Svengmans Collage spelar några låtar  MEN framförallt så blir det

- Världspremiär för The Liza Janes - fyra tjejer med Rachel Eddy

   och Edith Gest i spetsen - svängig oldtime är att vänta.

-  Dessutom Bowmore med Anders Sterner, Tina Sundberg och Maggan

   Edlund. En underbar blandning av amerikansk och svensk folkmusik och

   med en och annan jazzton!

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.

(sprid gärna denna info vidare)

!! NB. vill ni inte ha denna information i framtiden så meddela detta !!

Janne

Tusind tak for CD'en med Trailer Country Band - var Thomas Haglund en del af bandet. Eller bare med på dette ene job?

Per Kammersgaard

Tidningen Trailer köpte inspelningen med trucklåtar av Country Minstrels och kassetten blev kallad Trailer Country Band. Applåder lades på i efterhand av Trailer. Thomas var med i Minstrels under en tid bl a på Svarta Pannan och Country Palace som bägge blev fantastiska upplevelser både för musikanter och publik.  JL.

Mats Rådberg gäst hos Geson på Radio Lidingö 97,8

Ingen mindre än ”Sveriges okrönte countrykung”, Mats Rådberg, är gäst hos Göran Geson på Radio Lidingö 97,8 i programmet ”Go´förmiddag Lidingö” fredagen den 12 november. Programmet sänds mellan kl. 9,00 och 12,00.

Mats och Rankarna har ju som bekant tagit en timeout från varandra, men Mats fortsätter på egen hand med framträdanden. Förutom en intervju med Mats, blir det givetvis också flera låtar med honom.

Programmet, som sänds varje fredag, innehåller ännu mera countrymusik, nämligen i ”Country Cookin´”, som innebär 5-6 countrylåtar på raken. Dessutom blir det ”Veckans trippel”, som är tre låtar i följd med en och samma artist eller grupp, ”Upp till dans”, där lyssnarna kan sparka undan vardagsrumsmattan och ta en svängom till 5-6 dansbandslåtar, och ”Dagens Elvis”, som givetvis är en låt med ”The King”, Elvis Presley. Det blir också ”Veckans mattips”, gäster, tävlingar och massor av ”alla tiders musik” – som alltid på Radio Lidingö 97,8.

Göran Geson kan du höra redan kl. 7,00 på Radio Lidingö 97,8. Då i programmet ”Go´morron Lidingö”, som även det sänds varje fredag. Huvudnumret i det programmet är ”Önskemorron”, som innebär att lyssna kan ringa eller maila in sina önskelåtar. Telefonnumret är 08 – 767 71 20 och mailadressen spela@radioliidngo.se. Redan nu kan du maila in din önskelåt!

Radio Lidingö hörs över större delen av stor-Stockholm på FM 97,8 och givetvis också på internet och då är adressen www.radiolidingo.se.

We are adding to our 2011 schedule at this time.  If you can fit some Casino or Festival/Club jobs into our schedule please let me know!

Regards,  WC Edgar  620-755-3432

www.wcedgar.com    http://wcedgar.com/Tour_Dates___Road_Pics.php  Schedule

Hello fellow players,

I noticed some references to Wynn Stewart on the steel guitar forum.  The thought of Wynn Stewart brings back so many wonderful memories.  I never paid much attention to him and his ability when I was working for him.  I never realized what a good singer he was until I worked for George Jones and George would slam the brakes on in the car and pull off to the side of the road every time a Wynn Stewart record came on the radio.

I asked George one day why he was such a Wynn Stewart fan.  He looked at me like I’d slapped him and said, “What do you think?  Wynn’s the greatest country music singer that ever was and ever will be.”

Of course, to hold my job, I said, “But George, what about you?  You’re my favorite country music singer.”

He said, “About the time I fire you and you go to work for Wynn,  I won’t be.”

Well, George didn’t exactly fire me, but somehow I did end up working the road with Wynn.  I was Ralph Mooney for a couple of years and I didn’t mind it a bit. 

Picking on Wynn one day, I asked him backstage at a performance what kind of music he really, really liked when nobody was looking, thinking he might say western swing, jazz or pop.  But no, he looked me right square in the eye very scornfully and said, “Son, I like the kind I sing.”

Many years later in Nashville when I was band leader at Conway Twitty’s Twitty City Theater, Wynn was right near the end of his rope physically, but was our guest and I had to do the charts for the band.  Luckily I had worked for him before which made it a pretty easy job.  This was a very enjoyable show and appearance of Wynn, which I’m very glad of because he died within two weeks of this appearance.

I’m so glad to see the Volkswagen Corporation using his song “Another Day, Another Dollar” as their theme for one of their television commercials.  It made me want to run out and buy two or three Volkswagens.  God love those we’ve lost.

Something came in the International Musician’s Paper that really made me appreciate symphony orchestras.  It was some city somewhere that was auditioning for musicians.  It said, “Come to our audition.  All auditions will be held behind an opaque curtain.  It’s your ability that we’re after, not how young, cute or pretty your legs are.”

I thought this was so wonderful and wished that country music bands would hire the same way.  It’s getting where if you’re over 25 years old or have something visually wrong with your body like a wart on your nose or whatever, even if you play like Buddy Emmons or Curly Chalker, you can’t get a job.

Of course, I’m sure a bad personality would be enough to get you fired, but I just wish all bands would take the approach that these professional symphony leaders take.  I can imagine Buddy Rich hiring somebody only because they looked good and not being able to play that well.  Buddy was known to physically confront a poor musician and try to rearrange his nose if a guy had taken a job with him and couldn’t play.

Now I’ll look on to a friend that provides a service that a few of you may need from time to time.  His name is Jim Palenscar.  This former veterinarian is devoting a good portion to his life to servicing the old MSA pedal steel guitars.  I have many people calling me throughout the month asking me about parts for their MSAs and who they can get to work on them. 

I no longer do this, however Jim has taken up the slack and does a good job.  Jim’s phone number is (760) 754-2120 and who knows, he may even be able to fix your dog.  I’m sure he’ll take mail in repairs too.  Being from the west coast between L.A. and San Francisco, he should be able to service a lot of you guys.

Some of the hardest guitars for me to find to buy are the most collectible guitars in the world, the wrap-around and bolt-on Emmons push pulls.  I have an incredible 1965 red belly push pull 8 and 5 guitar that one could ask for.  I feel my price is more than fair at the paltry sum of $7500.  These guitars are going nowhere but up in value, regardless of the economy.  A great hedge against inflation and a safety valve for a faltering economy.

What if all these people that invested with Bernie Madoff had invested in fine steel guitars?  At least, they could go into their den and pretend they were Buddy Emmons in the mid-sixties recording with Ray Price.  Check our Emmons listings and check the pictures.  The ’65 looks even better underneath than it does on top as it was owned by a collector, not a road dog who was out every night wearing it out.

Many of you have heard about Nashville losing the world’s greatest steel guitar player (his opinion, not mine) so this leaves a vacancy for any good steel player from anywhere to fill.  All you have to do is be a fair player, but have a good personality, be nice to everybody and treat other people the way you’d like to be treated and you will be as successful as those that are here now.

I really need to thank the wonderful people in rural New York state for my installation on the Steel Guitar Hall of Honor.  Having been born in the rural farms of western New York state and raised on a hard working dairy farm with my steel playing Uncle Doug, I really have a very deep appreciation in my heart for being recognized by this honor.

Many of you out there when you hear the name New York think of the tallest building in the world and that place where all those dramatic movies about outlaws, gangsters and corrupt politicians live and work.  Actually about 98% of New York state is timberland with exotic hardwoods, beautiful mountains and lakes, incredible farms and beautiful small towns with some great musicians. 

After all, what do we have to do every night?  We didn’t have T.V. when I was a little kid.  Electricity was a luxury for some of my neighbors.  Luckily, we had enough electricity to plug in my Premier amplifier so I could practice on my triple neck Epiphone Electar thanks to my Uncle Doug.  About all I can say about this award is thank you New York state.  I really didn’t know you cared, but then I love all steel players everywhere.

The friend of all bar holders,

Bobbe Seymour

Hello fellow players,

One time when I was playing a club in Colorado Springs, I figured if I could sing I would be more valuable in this little four piece band.  The musicians in the group were incredible.  All have now gone on to be masters of their profession and are well known to all.

I can’t remember if I told them before I was hired if I could sing or not, but I might have just to get the job.  Upon showing up in Colorado Springs for the first rehearsal, I remember going into the club around noon.   It wasn’t open yet but management would leave the place open so we could rehearse on the actual stage where we would be playing.

I think it was called The Wagon Wheel on East Platt Blvd.  It was a small club that was jam packed every night.  I made excuses for the first two or three weeks that I had a sore throat and it hurt to sing.  The band accepted this for a little while but soon I knew I couldn’t get away with it much longer.

One song I was going to try to sing was Blue, Blue Day because I had heard Curly Chalker sing it and thought it was pretty cool.  The second song I was going to try was I’ll Play Second Fiddle, a Buck Owens tune that Ralph Mooney did some excellent steel work on. 

We should have rehearsed it but we didn’t.  Halfway through the second set, the guitar player announced to the tight little crowd, “Our new steel player is going to sing one now.  It’s a Buck Owens tune called Second Fiddle.”

I had no idea what key to do it in but remembered when I was a little kid calling square dances, I sang in Bb a lot.  I did the intro and was singing sitting down behind my steel guitar.  I noticed everyone was sitting and looking at the stage. 

As soon as the song was over, I knew I had been singing in too high a key because I could barely reach the notes, and when some inebriated customer at the bar turned around and yelled, “Hey, let that chick sing another one.”  That was all the proof I needed that I was in too high a key.

This was actually the very end of my singing career.  Amazing, the beginning and end in the same song!  Just think, if I had kept singing, possibly the girl singers of today wouldn’t stand a chance.  No telling how many careers I could have ended instead of my own.

Anyway, I decided I enjoyed music way too much to open my mouth and destroy it.  However, it did work real well because the band never asked me to sing again and I didn’t get fired.

From there I moved to Duncan, Oklahoma.  I got a job with Haliburton, worked in their machine shop for a good while gathering parts, tools and additional talents to start my own steel guitar company which turned out to be the beginning of MSA.

Playing in Duncan, I was working with a western swing band one night and a guy comes up and says, “Can y’all play Crazy Arms?”

I said, “Sure.  It’s one of my favorite songs.”

He said, “Well do it.  My brother wrote that song.”

I looked him right square in the eye and said, “Ralph Mooney wrote that song and he only has one brother and is name is Cecil.  Is your name Cecil?”

The guy looked at me and said, “Yes it is.  Ralph was born right here in this town.”

I said, “Well Ralph Mooney is one of my favorite players and definitely a legend in this business.”

At this point Cecil replied, “I don’t care what he is.  He still owes me $50.00 that I loaned him when he left town.”

I laughed and assured Cecil that I’d remind Ralph about that the next time I saw him. 

It wasn’t long until my machine shop talents got to the point where I could and should move to a city where they had an aluminum foundry so I could built steel guitars.  I tried Wichita Falls first.  They had a nice foundry there, however the foundry did not like my pattern building talents so on the way home in a desolate part of Oklahoma, I threw the patterns out of my ’61 Falcon Futura driver’s window.

Soon I moved to Dallas and had some excellent patterns built by a professional pattern maker.  Legendary history was about to be made, but first I had some serious steel guitar playing that I wanted to do around Dallas.  I worked minor stints at several of the big western swing clubs and all of the smaller western swing clubs.

Clubs like the Patti Club at 1717 South Ervay.  The old Top Rail.  Twin Oakes and some more clubs that are now somewhere underneath the northeast runway at DFW today, DFW being that big airport we’ve all heard about.

However, western swing?  I loved it because everything seemed a lot more musically correct than just copying country music records.  The western swing groups were seriously trying to play dance music for the club patrons and not just to satisfy the ego of the singer.  I’ll always have a warm spot in my heart for the great Texas music that has leaked over into Oklahoma, New Mexico and Arizona.

I sure hope that this tradition is continued but I don’t get out there enough to know.  Not to put down country music in any way, but as for the amount of  notes I played in both venues, I got a lot more money per note in the country field.  I’m not sure it would be this way today, but I don’t know.

Being inducted into the Texas Steel Guitar Hall of Fame four years ago was a wonderful honor and I thank all my Texas buddies for bestowing this honor on me.  This newsletter goes out to musicians and players all over the world, so what I would like to say is the Texans that play and operate in that great state are some of the nicest, most wonderful and greatly talented players on this instrument.

There are great players everywhere in the United States, but I think the reason music is so good in Texas is because so many of the regular people in Texas love it with all their hearts.  I remember playing with Johnny Duncan on a Texas tour in 1981.  Johnny would announce to the audience the name of all us players and where we were from.  I remember him saying, “Leon Rhodes, Dallas, Texas.”

The audience cheered violently.  Then he said, “Bobby McVeigh, Sanger, Texas.”  The crowd went wild.  This happened through about three more Texas players with the crowd so proud and so nuts about where the players were from.  Then Johnny announced me on steel guitar.

He said, “Ladies and gentlemen, from Nashville, Tennessee, Mr. Bobbe Seymour.”  I started to stand up and take a bow and nothing happened.  You could have heard a pin drop.  Finally one guy in the back of this tremendous dance hall in Pampa, Texas yelled, “Go home.”

I couldn’t help but just burst out laughing because it was one of the funniest impromptu things I had ever seen.   So I walked over to the microphone and said, “Ladies and gentlemen.  He’s just kidding you.  I’m really from Lubbock.”  Everybody burst into a big round of applause and cheering.

Johnny looked at me and said, “Boy, you can really work a crowd.”

My reply to him was, “I’m just trying to stay alive.”

Your buddy,

Bobbe

Det blev hela 7 sidor denna gång och mycket beror på Bobbe Seymoures roliga anekdoter från hans musikliv. Dessa speglar ganska bra hur livet för musikanter är i Nashville.

Ha nu en trevlig helg och glöm inte bort tisdagen den 9 november på Stampen.

Janne Lindgren

CountryMusicSweden

A  nonprofit organisation to promote country music and more

Sveriges hetaste nyhetsblad

Email: countrymusicsweden@comhem.se  

Nyhetsbrev  10046    7  november  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

Först och främst vill jag än en gång påminna om  att jag bara publicerar skriven text I mitt Nyhetsbrev. Inga bilder eller afficher.

Lonnie & the Lonesome Riders på Stampen i Stockholm.  Så ska en slipsten dras!!!! Min uppmaning till alla mina läsare i mitt förra utskick att komma till Stampen i tisdags visade sig ge gott resultat. Men det vet jag sedan många år tillbaka att direktreklam till countryfansen ALLTID ger effekt, mycket mer än en dyr annons i kvällstidningar. Man kastar bort pengar i onödan.

Många av de svenska arrangörerna följer tydligt de influenser av popmusik som sprids av de stora bolagen i Nashville. Istället bör de åka till Stampen och lyssna på Lonnie och hans gäng som spelar ”pure” country,  med några få undantag förstås, och lära sig vad som är countrymusik.

Det var inte bara mitt Nyhetsbrev som lockade folk till Stampen i tisdags. Sara, Carolina och Erica hade tagit med sig en bunt vänner vilket gjorde att vi helt plötsligt hade många ungdomar i salongen och de diggade verkligen det som framfördes på scenen. Speciellt då vår lilla tjejtrio sjöng ”Together Again” så både hustru Eva och jag fick tårar i ögonen. Sara fick göra en sololåt också och hon hade valt ”South of the Border” som hon gjort succé med på Boule & Tapas för några månader sedan. Tjejerna drog ned kvällens häftigaste applåder.

Ni ska veta att denna tjejtrio inte repeterat en ton med bandet utan allt gjordes med prat strax innan det var dags att hoppa upp på scenen. Jag är mycket stolt över mina adepter. Och vet ni, Lonnie har bjudit in dem till den 7 december och då kommer de att sjunga flera låtar. Ladda upp för den kvällen!

Trots att det var ett riktigt skitväder i Stockholm den här kvällen så blev Stampen fullproppad med gäster. Med rätt PR så kan det upprepas nästa gång. Jag citerar vad countryvännen Lars Rune sa, hit måste man ju gå varje gång det är country.  JL.

Ultimate Event presenterar

Julbord med Julshow på Ulvsättra Loge

Efter förra årets stora succé har vi nöjet att för andra året bjuda på en kväll med ett dignande Julbord och samtidigt få njuta av härlig countrymusik från några av våra folkkära och namnkunniga countryartister i en fantastisk miljö som Ulvsättra Loge erbjuder.

Vad sägs om Red ”the truck” Jenkins, Karin ”Stop, Stop stanna” Risberg, Vivien ”the Ozark” Searcy, och Leif ”Delbert” Ingdahl. 

Artisterna backas av några av våra främsta musiker i genren som Göran ”Floda” Lomeus – Bas (kapellmästare), Hans Olof ”Hessy” Eriksson - Trummor, Andreas EA Olsson – Leadguitarr, Mats Rosén – Steelguitar, Tommy Löfgren – Kompgitarr och Lennart Sjöholm - Piano.

Dessa herrar bildar vårt husband Cal´s Western Store. Vad mer kan man begära?

Välkomna till Ulvsättra Loge lördagen den 27 november. Insläpp med glöggmingel från kl. 18.00

Gå in på vår hemsida www.ultimateevent.se klicka på Julshow. Skriv och skicka anmälan. Men du, gör det ganska snart, det är begränsat antal platser.

Kom och upplev en känsla av Grand Ole Opry eller Texas Honky Tonk, samtidigt som du njuter av ett härligt svensk Julbord.  Det är Du som gör kvällen.

Du – vi bjuder också på ett fantastiskt jullotteri med massor av priser från bl.a. Orrefors

Välkomna                                                  Bosse, Bibbi, Karin och Tommy

Countrymusiken i Nashville är inte vad den varit. En av vinnarna av CMA Award, Brad Paisley, är visserligen country men resten representerar ren popmusik. Man har totalt tappat bort rötterna och tyvärr sprider det sig världen över. Men det där behöver jag knappast tjata om längre för vem bryr sig. Jag är en av de sista entusiasterna. Då är det skönt att ta fram en Bear Family Box med Lefty, George Jones, Buck Owens m fl. Då får man riktig countrmusik i öronen. JL.

Välkomna till Club Svengmans  (sprid gärna denna info vidare)

 OBS! Årets sista Onsdagen den 17 november på

Enskede Värdshus - Festvåningen.

(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 bluegrass- och oldtimemusik

- husbandet Svengmans Collage spelar några låtar

  MEN framförallt så blir det

- Världspremiär för The Liza Janes - fyra tjejer med Rachel Eddy

   och Edith Gest i spetsen - svängig oldtime är att vänta.

-  Dessutom Bowmore med Anders Sterner, Tina Sundberg och Maggan

   Edlund. En underbar blandning av amerikansk och svensk folkmusik och

   med en och annan jazzton!

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.

!! NB. vill ni inte ha denna information i framtiden så meddela detta !!

Hello fellow players,

A topic that effects everybody that plays steel guitar is string breakage.  Some of us have a lot of it and some of us never have any of it.  The thing is, some of us that play the most have the least.  The players that have a lot of string breakage find it very easy to blame their guitars.

With almost all guitars having close to identical string length, are tuned about the same and have the same size radius over the pulling finger, you’d think that all guitars would be about the same.  Common sense along with a little experimenting will prove to you that it is not the steel guitar that is breaking the strings, it’s that the strings were manufactured from the wrong kind of material to start with.

The old adage that all steel guitar strings are the same and made by the same company with just different names on the packages is not entirely true at all.  Bigsby steel guitars that I played in the late fifties and early sixties were very notorious for breaking strings in those days. 

Bad enough that I would change E9th strings, or the high ones anyway, between every two sets that I played.  I can take the same steel guitar today that I still have, put on a great set of modern strings and almost never break a string.  This alone is proof that it’s not the guitar that breaks strings, but the type of material the strings are made of.

This along with heat tempering.  I bought a set of Gibson strings one time several years ago that was so bad that holding them in your hand and just bending them, they would break.  This is a tempering problem.

C6th string sets are not quite as prone to breakage as E9th sets are.  Of course, the higher a string is pulled and the smaller its diameter, the more prone it is to failure.  But compared to the quality of strings twenty years ago, specialty strings being made today just for steel guitar like Cobra Coil, George L and GHS can just about totally eliminate string breakage regardless of the guitar.

If you are using D’Adario strings and other brands that are primarily made for lead guitar or rhythm guitar, the problems that you will experience will make themselves appear quickly.  What I’m saying is, don’t blame your guitar, it isn’t breaking.  Blame your strings, they are what’s breaking.

I’d like to cover a subject that I think we all find interesting.  Having played in Nashville for the last forty five years and having seen the design and manufacture of Sho-Bud amplifiers throughout the period before the Peavey dominance, I would like to relay some information about this era.

The primary amp from this era used by most people was the Fender Twin amp.  These amps were reported to have 80 watts of power, but broke up starting about 30 watts of output.  Tone was really nothing exceptional.  Nowadays, these amps are not even dependable.  Except for custom amplifiers, these amps were about our only choice until the first Peavey Deuce and the first Session 400s were manufactured in the early seventies.  The Peaveys had great power, acceptable tone, didn’t weigh too much and weren’t overly big, but many players wanted something better in the tone timbre area. 

First to come along was the Jim Evans amplifier.  Great tone, fair dependability, fairly small and average weight, these were good amps and still are today.  Commonly known as the hybrid because it had half tubes and half transistors, the preamp being tube that gave a wonderful tube sound for players, but had the transistors for power.

This amplifier superseded the all tube Compactra which was big, heavy and not very powerful, but Evans sold several of the Compactra models to Sho-Bud which carried the Sho-Bud name in the beginning.

Then in the late sixties and early seventies an amplifier builder from San Antonio, Texas named Kenny Cane built a small, light amplifier that was about as fine an amp as money could buy.  Light, small size, very dependable, easy to work on with incredible tone, but there was Kenny Cane all by himself building this amplifier and overnight it seems, he got a three year waiting list for amplifiers.

Shot Jackson himself decided that he should hire Kenny, move him to Nashville, hire ten or fifteen folks and teach them how to solder and have Kenny mass produce the amp.  Kenny came to Nashville and we all decided that we wanted the amp striking to look at because we knew it was going to sound great.

So Shot hired Billy Robinson and Billy working with Kenny, Shot and some input from me continually saying that the amp needed to look as good as a Standel, the Christmas Tree amp was born.  The Sho-Bud Christmas Tree amp is a legend with a 15’ JBL speaker and onboard reverb it was the most beautiful, best sounding amp that had been made to date.

Even hardcore Emmons steel guitar owners had to have a Sho-Bud amp.  Most of them that you find used today still work well, don’t hum or hiss, just check the reverb and make sure the springs haven’t broken on it.  Be sure not to pay too much for it unless you are a collector and just have to have one because the electronics can be fairly expensive to work on in this day and time.

These amps are 100% transistor so at least you don’t have to change tubes every couple of years.  Soon to follow on the heels of this great amp was a model we called the Middle Range amplifier.  It had a mid-range tone control that the Christmas Tree amp did not have.  It did not have the beautiful control panel that lit up like a Christmas tree, but the great tone and power was still there and it was the same size and weight as the Christmas Tree. 

Any of the models of this amp are worth buying and restoring today.  The third amp in this Christmas Tree series was what they called the Slide Pot amplifier.  They were almost identical in internal wiring so the tone and power were there, but the amp was ugly.  It was about two inches higher than the first two amps and had slide pots like a recording console which broke off leaving you to use your fingernails to push the controls up or back.  They also got dirty very fast and would crackle after a couple years use. 

However, would I buy one today?  Absolutely I would if I could get it at the right price.  The tone is there.  This was the end of this great era of Cane/Sho-Bud series.  These amps were much loved and probably always will be.  Used by about every steel player and lead player in Nashville for many years, Fred Newell, guitar player on Nashville Now television show and Larry Sasser both used these amps for the entire history of Nashville Now.  As far as I know, the amps are still working today. 

Such players as Jimmy Day, Buddy Charlton, Ron Elliott and about everybody else in the business at the time beat these amps to death on the road, however they seemed to be always working and the ones that were beat up seemed to work as dependably as the ones that Hal Rugg and Pete Drake used for years in the studios.  Like the old Standel tube amps, the Sho-Buds are wonderful amps.

Today it seems like the closest thing to this amp and quite possibly even better is the Peavey Nashville 112 which I have the sneaking suspicion it may need to credit some of its development to the old Sho-Bud amp, but being a Peavey dealer, I better watch my mouth because I’m not sure.  I sure to love the little Nashville 112 as all the rest of you do.  Your buddy,

Bobbe

Hej.

Vill informera om att countrystjärnan James Intveld debutspelar i Sverige.

Bifogar en affisch med info.

Mvh  Kenny Dannberg

070-2052032

Det var vad jag hade idag.

Janne Lindgren

CountryMusicSweden

A  nonprofit organisation to promote country music and more

Sveriges hetaste nyhetsblad

Email: countrymusicsweden@comhem.se  

Nyhetsbrev  10047     22 november 2010         3  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

Som vanligt är jag sent ute med mitt veckobrev, men den här gången har jag en anledning att vänta lite. Anledningen var att visgruppen Kristall bjudit in till releaseparty i Alviks Medborgarhus. Efter att ha letat lite efter lokalen så hängde vi av oss ytterkläder och gick in i lokalen som var full (160) av sittande gäster. Givetvis fanns här många vänner och bekanta bland andra Lasse Holmström (f. d. Country Minstrelsmedlem) med hustru som jag inte sett på ca. 20 år. Andra som jag inte träffat på länge, länge var Lasse Rosin, Anders Rådberg m hustru, Gary Johansson, Pelle Törner, Lennart Sjöholm m fl.  Jag pratade också med dem som jag träffat lite oftare som t ex Thomas Haglund, Floda, Mats Rosén, Jenkins o s v. Många av oss gäster som var där är gamla i branschen och det är kul att hitta så många vänner på samma tid och plats. 

Kristall består av:

Anne-Li Holmgren-Lomaeus (sång & gitarr)

Gocki Sköld-Linge (sång & rytm)

eller Göran ”Floda” Lomaeus (bas)

med gästmusikanterna:

Thomas Haglund (fiol & gitarr)

Patrik Ajaxén (saxofoner, flöjt, klarinett)

Releasepartyt blev kanske mer av konsert då Kristall körde två avdelningar med visor från den nysläppta plattan. Det är alltid roligt att höra duktiga musikanter och i det här fallet blev jag väldigt imponerad av att Thomas Haglund spelade gitarr med sådan pondus. Det lät nästan som Grady Martin. Floda är tvärsäker på basen och Patrik har en fin och mjuk ton i sin saxofon. Tjejerna skötte sig förträffligt förstås!  Det bjöds på kaffe, kakor, fyllda dolmar och  annat småtilltugg och det var mycket gott. Jag hade gärna stannat och minglat lite till men min hälsa tillåter inte för långa sittningar. Jag är glad att jag kunde komma till partyt en liten stund i alla fall.

Ett stort TACK till Kristall för en mycket trevlig söndagseftermiddag. JL.

AFF - Jubileumsfest Sista påminnelsen ! Nu är det hög tid att anmäla sig till AFF’s 20-års fest !

Lördagen den 27 november från kl. 18.00 och framåt midnatt är det fest! Musiken börjar 18.30 så kom i god tid!

Denna jubiléumskväll är starkt subventionerad av föreningen så missa inte detta tillfälle till socialt samkväm med en god Cajunbuffé och en fantastisk musikupplevelse. Skicka in 200:- per näsa(mun) på AFF Plusgiro 486 58 05-8. Märk inbetalningen med ditt namn och ifall du föredrar ett vegetariskt alternativ.

Icke AFF-medlemmar är givetvis också välkomna till priset av 250:-. Vi har utsträckt anmälningstiden till måndag den 22 november. I priset ingår buffén och all underhållning. Vi har också en bar till självkostnadspris! Och bered er på en del överraskningar. Om du inte vill äta går det bra att komma direkt till festen. Entrépriset är då 150 :-

Ställ nu upp för din förening och deltag i detta firande! Mer information finns i AFF-Tonbladet #3-2010.

Här presenteras de AFF-band som kommer att förgylla vår kväll!

John Henry - en blandning av folk, oldtime och lite bluegrass. Svenska Mästare 2009

Rachel & Kristian - professionell oldtime

Bayou - svängig cajunmusik

Le Chat Mort - mjuk bluegrass och lite blues i härlig mix.

Grassride - bluegrass av klassiskt märke. Svenska Mästare 2008.

Festen går av stapeln i Hägerstensåsens Medborgarhus, Riksdalervägen 2, Hägersten, Stockholm T-banelinje Fruängen, station Hägerstensåsen

Mer info på : www.amff.se

Välkomna !  Aff's styrelse

Hej Janne!

Ja nu har jag varit i Nashville och lirat in en ny Cd  fullmatad med

traditionell honky tonk musik. Duetter jag med bl.a Merle Haggards ex fru

Leona Williams, Dawn Sears, Becky Hobbs, Dean Dillon mfl.

Bland musikerna finns bla Hank Singer, Kenny Sears (fiol), legenden Hargus "Pig Robbins" (piano), Steve Hinson  (Steel) från Randy Travis band + ytterligare superpickers.

Drar till San Antonio, Texas i mars och lirar in ytterligare en Cd då med "Texas-eliten"

av musiker och sångare. Har också några "Julshower" framför mig - Ulvsätra lördag 27/11 och Avesta Teater lördag 11/12  tillsammans med bl.a kanonsångerskan från Texas -  Amber Digby. Amber och jag kommer då bl.a att  framföra min låt "A Violin That Never Has Been Played"  som finns som duett med Amber på min Texas-inspelade Cd "Neon Bible".

Må väl och "Kindly Keep It Country".

Red "Stone Country" Jenkins

Det var kul att träffas igen Jenkins, men jag missade Gunilla. JL.

Ultimate Event presenterar

Julbord med Julshow på Ulvsättra Loge

Efter förra årets stora succé har vi nöjet att för andra året bjuda på en kväll med ett dignande Julbord och samtidigt få njuta av härlig countrymusik från några av våra folkkära och namnkunniga countryartister i en fantastisk miljö som Ulvsättra Loge erbjuder.

Vad sägs om Red ”the truck” Jenkins, Karin ”Stop, Stop stanna” Risberg, Vivien ”the Ozark” Searcy, och Leif ”Delbert” Ingdahl.  

Artisterna backas av några av våra främsta musiker i genren som Göran ”Floda” Lomeus – Bas (kapellmästare), Hans Olof ”Hessy” Eriksson - Trummor, Andreas EA Olsson – Leadguitarr, Mats Rosén – Steelguitar, Tommy Löfgren – Kompgitarr och Lennart Sjöholm - Piano. Dessa herrar bildar vårt husband Cal´s Western Store. Vad mer kan man begära?

Välkomna till Ulvsättra Loge lördagen den 27 november. Insläpp med glöggmingel från kl. 18.00

Gå in på vår hemsida www.ultimateevent.se klicka på Julshow. Skriv och skicka anmälan. Men du, gör det ganska snart, det är begränsat antal platser.

Kom och upplev en känsla av Grand Ole Opry eller Texas Honky Tonk, samtidigt som du njuter av ett härligt svensk Julbord.  Det är Du som gör kvällen.

Du – vi bjuder också på ett fantastiskt jullotteri med massor av priser från bl.a. Orrefors

Välkomna  Bosse, Bibbi, Karin och Tommy

Du kan gärna puffa för vår gemensamma vän Lonnie

Han kommer till Quality Hotell  Winn (Najaden-huset) i Haninge.

Programmet Klassiska Hits  25 november 2010 kl 19-22

Inträde 120;-  Du kan googla på Björn Hasselgren - där hittar du programmet.

Kram till dej

Pyret

Som fortfarande är programledare på Radio Haninge 2 dagar i veckan

 Oemotståndligt good ol’ irish, The Blarney Boys,
på O’Connolls, St Nygatan, Sthlm,
fre 19, lö 20 nov 21-24

Spread the word ...

//Chris O’Bergh J

Det är mycket som händer nu i slutet av månaden och det känns onödigt att köra bluegrassfest och countryfest på samma dag.  Man tar ju  folk från varandras arrangemang. Det har vi inte råd med i fortsättningen. Nå´n djävla ordning får det vara i ett parti, som en känd politiker uttryckte sig.

Men sköt om er nu så hörs vi i slutet av veckan.

Janne Lindgren

CountryMusicSweden

A  nonprofit organisation to promote country music and more

Sveriges hetaste nyhetsblad

Email: countrymusicsweden@comhem.se  

Nyhetsbrev  10048        29  november 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

Oj vad snabbt veckan gick. Här kommer ett Nyhetsbrev med lite smått och  gott bl a en påminnelse om att Lonnie  & the Lonesome Riders spelar på Stampen i Stockholm den 7 december. Precis som förra gången så har jag Sara, Carolina och Erica med mig och de kommer att sjunga några låtar med husbandet. I bandet finns Hasse Rosén, Karin Risberg och Nisse Nordström (piano) för övrigt. Alltså upplagt för en riktig countrykväll! Ådu, grabbar! Det är fritt inträde hela kvällen! Vi ses där!

Tack för Krutstänket Christina. Ovanligt innehållsrikt nummer med en spännande skildring av en resa runt USA, som vännerna Eskil och Gurian tecknat ned. En personlig reflektion. Att resa med 30 personer måste ha varit rätt så jobbigt. Själv skulle jag aldrig välja det sättet att resa. Jag har alltid hyrt en bil och åkt dit jag ville. Det har på så sätt blivit mycket smidigare och framför allt MYCKET billigare.

I Krutstänket finns också en artikel om Bluegrass skriven av godsägare Kenneth Friberg som till vardags även gör radioprogram med undertecknad www.obcmusic.se

Tack Floda och Kristall för den fina CDn ”Vandring” jag fick igår på posten. 17 trevliga visor m m är innehållet och medlemmarna är Anne-Li Holmgren-Lomaeus, Gocki Sköld-Linge och Göran Floda Lomaeus. Gästartister är bl a Thomas Haglund, Charlie McCoy, Berra Karlsson och andra duktiga musiker. Beställ plattan genom www.visgruppenkristall.se    

Enligt  färska uppgifter så kom det mycket folk till Ulvsättra (country) och AFF som 20-årsjubilerade. Grattis till arrangörerna! Trots att det var på samma kväll?!

Hej!

Då är det dags igen!

Stockholms Internationella Skivmässa i Solnahallen

Lördag den 27 November Kl. 10.00 - 17.00 anordnad av Masens Rockcenter.

Jag finns givetvis på plats med mitt country sortiment.

Hälsn

/Hasse Häggström

Hej Janne!

Just nu spelar Kalle Oldby i radio P4. Jag tror faktiskt att du skulle gilla musiken. Mycket Lloyd Greene och Mike Auldridge.

Hälsningar

Lasse Rune

Tack Lars för info! Det är bra att Oldby spelar en och annan countryplatta i sitt countryprogram. Det brukar vara tunt med det! Plattan han spelade måste ha varit Eric Brace & Peter Cooper ”Master Sessions” på Red Beets Records. Lloyd och Mike spelar fantastiskt! JL.

Hi Janne,  a short report!
 
They had an extra Midnite Jamboree yesterday 10.00 @
Texas Troubadour Theatre. Norma Jean was guesting.
She had a nice sound with local Nashville men.
Rusty Danmeyer on steel. He has been touring with Lee
Ann Womack and later LeAnn Rimes. He was also on
Ray Driscoll's lwegendary recording!  I sat next to his
father, who had been a musician in Jim Nesbitt's band
in the 60's a nice evening... Billy Johnson on lead. He
is playing Legends Corner with Mike Siler almost every
time... A nice evening with lots of Porter Wagoner...
 
Hank in Nashville

Hello fellow players,

What I’m covering today is as important as anything I could cover.  The subject applies to not just steel guitar, not just music, but to several lines of work from being a race car builder and driver, airline pilot or a designer of anything.  It determines whether you will be a leader or follower your whole life.

As most of you know, it pays a whole lot better to be a leader than a follower.  We can all get by being a follower, but being a leader will get you much more money and respect.  I’m going to apply these thoughts to steel guitar because this is language that most of us players think in.

We’ve all heard that we should be an originator when it comes to playing steel guitar and that we shouldn’t just copy licks.  I was thinking to myself the other day just how important this really is.  Every once in a while I’ll have someone come up to me and say, “I wonder why ole so and so isn’t more famous, because he really plays great.”

I’m seeing this on YouTube a lot now myself.  Every time somebody tells me who I need to take a listen to on YouTube regardless of the instrument, I’ll go listen to this person.  It usually doesn’t take me over twenty seconds of listening to know why he is or isn’t famous and memorable. 

It all comes down to one thing and that’s originality.  You might say, “How can you be original in this day and time?”  Do you think every playing style has been invented already?  Let’s take the most loved style on steel guitar, the E9th country sound invented by Bud Isaacs.  When Bud came up with this style in approximately 1950, the entire world fell at his feet.

He could name any job that he wanted and name his own price.  So naturally other great players jumped on his style and did their best to copy and enhance it.  Some did a very, very good job even though it was still the Bud Isaacs style.  Players like Walter Haynes, Buddy Emmons, Jimmy Day and Sonny Burnette were recording this style every time they got into the studio.

Pretty soon every steel player that knew what a radio was, was copying the beautiful sounds of the E to A pedals on the E neck.  Whatever this did to the human mind in those days seems to still be doing it to the human mind today.  It was so weird and interesting that even other instruments like lead guitar and piano were emulating that steel guitar sound.  Where do you think the piano style of Floyd Cramer came from?

No matter how much you want to play on steel guitar, if you also want to make money with it, you better have an E9th neck first and a C6th neck second and you better be able to get that E to A Bud Isaacs style on the E9th neck.  Whatever Bud Isaacs did to us, he did it well.  If it wasn’t for this particular style, steel guitar may not have risen to the point it has attained today.

Today in this day and time, I don’t and can’t respect any player too greatly that can only play one thing on steel guitar.  I feel a great player needs not only to be great on E9th, but also on C6th tuning to play big chords and most of all, must be able to invent and create, back to originality.

Players that astound me today because of their originality are players like Tommy White, Randy Beavers, Doug Jernigan and any player that can play anything interesting that I haven’t heard before.

I’m in a position with what I do here, where I can hear about every kind of E9th lick that has ever been invented way before it is put on any record leaving Nashville.  Many of these licks I may be the father of myself, either unknowingly or by design.

Now let me defend non-originality also because you need to play what you are hired to play.  If you are hired in a club that plays commercial country music all night, neither the band leader nor the people care about your originality.  The more you can sound like that record, the better they think you can play.

I’ve heard young customers, steel players, come in my store and make remarks like, “Boy, have you heard ole so and so?  He can play exactly like the record!”

Well if that’s all he can do, he’s no more a steel player than the little girl church organist is a great musician.  She might be able to play everything in the hymnal, but how does she play when you chose that hymnal?  Can she still play?  Or is she just a machine that takes what somebody else has composed and she mechanically reproduces it?

Part of the quality a studio musician is hired for is what he or she can invent to embellish the great thinking the songwriter has created.

I did a very important master recording session with Johnny Rivers in 1974.  When this album hit, the label, Atlantic, wanted the original band that was on the record to travel with Johnny Rivers around the United States.  The reason they wanted the original musicians was because they felt we could play what was on the record better than anyone.

But this was not the case.  We were all studio musicians which meant we invented everything on the spot and erased our memories when we walked out.  After all, being a studio musician, you can’t play the same lick on everybody’s record and expect to work for very long.  To make a long story shorter, I got to California and quickly realized that I could not copy me very well.  So believe it or not, after a month I relinquished my position with the band and they hired two steel guitar players to copy my recorded licks and play them on the road with Johnny.  The steel players were Dan Dugmore and Ed Black. 

Buddy Emmons is one of those rare guys that seems to have total command of what he recorded and how to play it correctly on the road. 

Most producers today want original licks with the old E9th flair or feel, so you can listen to somebody else’s style but be original and where you play should determine what you play, divided into such groups as studio, club and road.  No matter how you look at it, your steel guitar is your tool.  How you manipulate it determines how you affect your life.

You can make money, be world famous and have respect, just like a product made with any other tool.  You need to give people what they want to hear first, then give them something they have never heard before to astound them like never before.  Originality is the only thing that can do this.

The greatest advise I can give all you old pro and aspiring young players is to get out and listen with an open mind.  Listen to many different styles and then use originality to apply it to your own playing.

If you do this for a lifetime, you can be a Don Helms, Pete Drake, Buddy Emmons or any other great, appreciated and revered player. 

To rise above all others you have to be original, you can’t do it by copying licks, but you can use them somewhat as a ladder to originality.

Happy Thanksgiving.  Think of me because I’m going to be thinking of you.

To steal ideas from one person is plagiarism, to steal from many is research.

Why do people believe you when you say there are four billion stars, but always check you when you say the paint is wet?

.Your buddy, Bobbe

Det var allt för i dag. På med långkalsongerna, det är kallt!

Janne Lindgren

Tillbaks till nyhetsbrev!