He looks good,his band looks good the drummer is kickass. Ok another version of the "help Me" riff ,but check out when he hits the vocal mike.Thing is,no bullet mike no 'Bassman" for fuck sake he does't even tongue block!
Those better be phone books in his pockets. ---------- My YouTube Channel - Any Likes or Comments appreciated. :) https://www.youtube.com/channel/UCQ2_8CnjaiNLcPke4gWQ65A
I can never decide if it's Ryan Gosling or Ryan Reynolds I hate the most....
Will Wilde, on the other hand, is awesome. His lessons are clear and to the point - I have absolutely no idea which other pro harmonica players he's good friends with... ;)
We won't know the future of blues harmonica until we get there, but Will Wide is a solid player around. I like the way he starts off with the band, from the get-go, plays the bridge with aggression, adding a little of what's to come, and then does his vocals. When the band tones it down and Wide plays up to the mic while it's in the cradle, there are convincing blues bends, sharp and curvacious , and a fine bit of two note texture of the one and three draw notes. He is not especially fast (though he's no slow poke by any means) , but when the band picks up again he is solid, precise and mean in his riffs. There is convincing narrative happening here, a good amount of drama that convey an array of conflicting emotions. Good since of rhythm as well. He is playing as part of the band,not using them as backing track. ---------- Ted Burke __________________ ted-burke.com tburke4@san.rr.com
I enjoyed it. I agree with what's been said about the tightness of the band and how well the harp fits with everything else. He also seems very committed to his playing.
The only thing I didn't like was all the jumping around, but that's just personal preference.
mmmmm, good player but I get a sort of badly dated 70's vibe??? no, well just me. But in the UK there are some other stunning contemporary harp players...Lyndon Anderson, a really good and interesting player with great chops but not my cup of tea.
The "no Bassman, no bullet mic" got me looking. That looks like some kind of Fender 410 on the floor to his left and the mic might be a 585. That would solve the tone mystery.
Is it a super? I suspect it is but my screen is kinda small and I forget what everything looks like anyway. But if you mean he's not ascribing to a vintage rig or trad approach, I think I disagree. I think it's just more a 60s/70s somewhat rock-influenced model. I know what you mean by 'doesn't even tongue block', but it's misleading I think. It's like saying Adam Gussow doesn't tongue block. WW certainly does tongue block. Just not all the time. He uses embouchure as appropriate for the effect he wants. I quite like Will's stuff, some days. I don't really buy into the modern v traditional view of music. For me, that's not what music is about. A video of Big Mama Thornton had me in tears yesterday. I never imagined I could get that emotional about BMT singing hound dog, but it wasn't actually the song that did it; it was the performance and the context and her humanity shining out at me. And suddenly I understood hound dog in a way that I had never got from Elvis' gender-transformed pop-chart cover. Anyway, a couple of WW's songs have made an emotional connection with me. Not the one in the OP so much
