Good selection of tune. Nice, tight band. Good guitar work, really built up from the starting level and climaxed in the end. Unfortunately the harp playing was simply awful. Luckily the others in the band cranked up the volume some during your solo to minimize the damage. I would suggest you invest in some chicken wire.
Ahahahahahahahahahaha!!! Just kidding. The cocktails are taking effect early tonight. The quality of the recording was great, too. I could hear ice cubes clinking in glasses. It's hard for me to find something to criticize. If you put a gun to my head, I would say perhaps a tad (or perhaps not) repetitive on the riff that goes half note, two ascending eighth notes to another half note, two more ascending eighths to another half, two ascending eighths and descending to a half...if that makes any sense. I REALLY liked it in the beginning of the song. I liked it in the middle AND toward the end, too. So I'm being as picky as I can to find something to critique. It grabbed me in the beginning and perhaps sensitized me to it. All in all, nice job. Good-sounding band.
Pretty cool, especially if you are a newbie, which I doubt very much. I would suggest that you watch the intonation on some of the bends; maybe my ears, but a few sounded a little out, maybe flat or sharp. I've been working on this one lately, and have found this two part tutorial by the forum's late Buddha very helpful. Check it out:
Good ear, Lester. He's a newbie to the forum but not to the harp. I need to get me a video camera so that I can contribute something to this forum besides bullshit. I have an exercise to focus intonation on the three draw bends. It's a old tune from the forties called Sentimental Journey....great for zeroing in on the various bends on the three. But like I say...gotta get me some eekwipmunt.
@crispy A few things could make this track sound bluesier. Perhaps try avoiding the 5 blow note, especially as you're moving between the 5 draw and 4 draw. Practice hitting 6 blow - 5 draw - 4 draw as your stock phrase, based on the blues scale.
Your 3 hole bends aren't strong, you need to work on a blue third, half note bend, and the full tone bend (the 2nd of the scale) - this will provide you much more variety in your playing too. From what I heard from one listen mostly you avoided the 3 draw except as a passing note, and then it was sounded unbent (and therefore very major and unbluesy)
Another thing is to develop more syncopation to your playing, as most of what I heard was very on the beat - no swing. An exercise that I pass on is to simply play a triplet pattern over the song (say just on the 2 draw) and it's amazing what phrasing options come to you.
Lastly, related to the above is that you're leaning on blow-draw patterns too much - and all very on the beat. Try to break out of this habit by learning a few new riffs not based on this pattern, and leave space between the passages, even better if you vary this length of soace and choose to come in on different beats in the measure.
Hope this doesn't come across as too negative! I thought it was a good performance, with no clangers, and you're got a very good basis to work from
this is a song i cut my teeth on back in the day. it was a standard at the time and nearly every band in town did it. by the time i "discovered" 3rd position it was hard to find anyone playing it any more! very nice 2nd position work there, my compliments. one thing to consider if the band is willing: in the middle, extend the solos and swing the thing some. makes for a really crowd-pleasing interlude. not a criticism at all, just a suggestion. ---------- http://www.reverbnation.com/jawboneandjolene
@Gamblershand....a good lick to incorporate some of Gamblershand suggestions is the riff from Sunshine of Your Love I start on two draw twice, down to two full-step bend, up to two draw, four draw, four bend, four blow, two draw, up to three draw with a bend, finish on two draw. You can even do a brief shake on the three draw bend. You have your syncopation and your bluesy third. You'd be surprised how you can work this in at different tempos in different songs.
@crispyagain Yes - you'd probably be better with a Low F if you have one FWIW I think this sounds better in 2nd position, 3rd is too "dark" sounding to my ears
yes, i favor the low F for 3rd in G. works very well if the band swings it up in the middle during solos. ---------- http://www.reverbnation.com/jawboneandjolene
@crispy the Buddha is great in his video on this tune. Tone Tone Tone this what I would say you need the most and not from a some mic. So nice to see Chris again !!!!!!!!!!! The list isn't the same since he passed on to the big jam in the sky. ---------- Emile "Diggs" D'Amico a Legend In His Own Mind How you doin'
