This is a cut off a project I did with JD and the Chasers ANY & ALL Comments are appreciated. My thanks to Jim Rumbaugh for helping me get this posted.
My two acorns... Good song! Liked the vocals, guitar and keys. Harp was really in the pocket. Laid-back and groove-supporting! I would maybe have liked it actually not fit so well, you know? Especially in the second part, coming back again. Could have been really cool to have a harder attack and punch there. Maybe straightening the groove with a blue note somewhere? I'm not sure. Your playing is a lot better than mine would have been, I don't know shit so this is just my thoughts :)
The amp also come across a bit too much on the high-pitch in some places for me. But that may be just me. Really liked it as a whole. When can I buy it? :) ---------- Pistolkatt - Pistolkatts youtube
orphan, Wow! nice tone, pulse, and phrasing. Great guitar work and vocals, too. I listened to it several times. I'm curious, who would you consider your most influential player? Since you're asking for a critque...hmmm. Everyone is gonna have something to say, though. It's just fine the way it is. Keep up the good work! For me, it's always been a matter of attack, immediately commanding the listeners ear... I mean, hey!. it's your turn to shine,you better say something. And say it with style, and run with it. Do it loud, clear, with moxy, and give em something they'll remember. Step up more, you are too restrained. Have a smoke or drink....chill. Let it out MAN! Make that harp sing, and figure a way to say it with your soul. Without losing the thrust of the message within the song. I'm no expert, but this would grab me, even more. Try and drag out a couple critical notes where it really can be helpful in building your solo. How does a cross cut saw sound? I'll use this analogy, while comping in the background, too. For me,finding that delicate balance is always the challenge. That is, once you get the tone you're after... The beginning lick almost sounded out of key with the song. A little unsure, too. Example... I get a little frustrated when I do a ripping solo. After setting the stage for guitar, or anything, to jump in with the same feeling and attack. When I don't get it, it allows the song to languish, eventually losing momentum. Not good. Later, I nicely asked our guitarist to step up sooner, with more attack. He did. He was cool, and did what I asked of him. When he heard himself, I think he liked it more, too. More so than his previous style. We don't hear ourselves sometimes, and a third opinion is always helpful. Anywaaaaaay, hope this helps. There are some great licks in there. A little more embellishing, would do your style justice. Post more! That's a cool idea.
---------- Why is it that we all just can't get along?<
Last Edited by on Nov 20, 2011 4:17 PM
Nice ear, Kingobad. As a trombone player, I had to develop an ear for intonation early on, for obvious reasons. Meanwhile, usually no one notices a little intonation variation unless you hit the wrong note entirely. Musicians will notice things that the general audience does not. I think you achieved the sound and style you were going for, not laid back, but HELD back, like driving a hotrod around town, just barely obeying the local ordinances, revving the engine now and then but not spinning the wheels and lifting the front end but giving the impression you could if you wanted to. I tried to imitate a crosscut saw on the harp for a minute. No cigar.
i notice you spend a lot of time in the middle register. perhaps it would be a good idea to utilize a bit more of the lower register too, sort of give it more balance. just touch on the 1,2,and 3 draws bends in particular. very important holes when playing blues in the the first three postions. actually, when playing diatonic in general. overall i can see you understand or can feel song structure already. now it's phrasing and working your on bends and how you string it all together. ----------
MP doctor of semiotics and reed replacement.
"making the world a better place, one harmonica at a time"
Thank you for the great feedback! Been some "lightbulb moments" in reading your posts.
KingoBad, I agree. More woodshedding, more ear training.
Pistolcat & Mojokane, You're right I need to be more convincing on the attack.
My take on the song is the tension of a man hard after a woman, no foreplay, just the prize. "Baby drag me cross your lawn." He is not going to take her against her will, but he ain't taking no for an answer. I stayed in the middle of the harp to recreate that tension. "I'm here, I ain't backing down, I ain't going away, let's go for a ride." I think FMWoodeye picked up on this. But I don't disagree with MP. That would give it some of the punch in the second part Pistolcat suggested.
I really appreciate all of you for putting your ear to this. I needed that. Gives me plenty to work on.
Pistolcat, I haven't heard the release date. I'll see if they have the date set and get back to you.
I'm gonna stick to the harmonica. First off I don't like the eq on the harp and whatever effect is there. The band is hot but the harmonica is not up to same playing as the rest of the band.I don't hear a good natural tone. I know I'm being tough but after many decades and more gigs than I can remember I think this will help you. Work on tone and chops. Emotion comes through tone A lot of my teachers at one time or another have torn me shreds. ---------- Emile "Diggs" D'Amico a Legend In His Own Mind How you doin'
I thought the harp sat in a weird place in the mix. Is it panned middle? I'm of the opinion that harp should always been panned middle (doubled up tracks aside) because, like vocals, it comes from the mouth area and not anywhere down or off to the side. I couldn't really tell how your playing was, though I could make out the patterns. You might ease into the groove a bit more if you tone down the overdrive a bit, as right now it's a bit indistinct.
The bass in this song is well-played and mixed fantastically. It's a very tight piece overall.
@Diggsblues: I don't mind you being tough re my playing. I have listened to your playing and highly respect your opinion and critique. I agree that my part in this tract did not measure up to the level of the other musicians. I am committed to becoming a better player and am needing the input from all of you. I am not going to quit because very talented harp players/musicians critique me. I appreciate all the honest appraisals I can get. If thats not what I want to hear, I would not have put it up on the board. But I'm not going to get any better by not listening to people who have paid their dues and know what they are talking about.
Thanks again for listening and getting back to me!
First off - kudos for getting out there and playing with these guys - you will only keep getting better by doing it . -Also for having the cajones to post it up here with a target painted on it.
I'd agree with most of what's been said Your timing and accents are good. You have good rythmic instincts - which is very important - it's the foundation of the Groove thang - and aint nothing mo betta than groove.
You could learn a lot from this guitar player. Listen to what he's doing and try to ape it as best you can when you're practicing. When your'e playing with him trade licks or 'fours'. Most, if not all of what he's playing is do-able on harp. He also has a good sense of rythm and phasing. He's still taking a somewhat restrained aproach, - but he does a lot more with it than you are here.
Ands yes, I second (or third) the 'work on your intonation' advice. ----------
Last Edited by on Nov 22, 2011 11:36 PM
The harp has an odd tone... Hard to listen to. But I think I see what you were trying to do with the phrasing. With better tone it might work well. But this was a good effort. I've heard a LOT worse, that is for sure. Keep at it, you have some good things in your style already.
