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Willie G. Moseley

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Willie G. Moseley last won the day on November 5 2017

Willie G. Moseley had the most liked content!

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About Willie G. Moseley

  • Rank
    Veteran HFCer
  • Birthday 07/19/1950

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  • Website URL
    http://www.vintageguitar.com
  • ICQ
    0

Profile Information

  • Gender
    Male
  • Location
    Hank Williams Territory
  • Interests
    My family, writing, the Space Race + early experimental aircraft history, cardiovascular weight training, acting

Previous Fields

  • guitars
    I now only have a few "token examples " of classic models I use for lectures, + a few instruments custom-made to my specs (i.e., heirlooms) + an '84 Peavey utility bass
  • amps
    G & K Backline 110, Danelectro NIfty Fifty
  • fx
    Electro Harmonix---Small Stone, LPB-2; Danelectro chorus, distortion, and tuner (separate stomp boxes)

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  1. Willie G. Moseley

    Guitar Center Buying Tricks

    Truth be told, I don't think the average "guitar salesperson" is as hip to the vintage market as a local/nearby independent that specializes in new/vintage stuff. GC "salespersons" would most likely be pretty hip to present day/cutting edge stuff instead. Friend of mine recently got a mint Peavey Unity Dyna-Bass (active, neck-thru, gold hardware) at a GC for $200.
  2. Another suggested additional article could be titled "Working Thru the Chordal Complexities of 'Land of a Thousand Dances'"....
  3. I'm partial to "Cowgirl in the Sand"...
  4. ^^^^Detail: Many, if not most of the items were brochures or foldover posters; not as thick as bona fide catalogs, and while there were a few "booklets", methinks the thickest was probably a dozen pages. The point is, they were short-lived/rare brands, for the most part. At least three were single pages, printed on both sides. I did use clear "UPS tape", but in 20/20 hindsight, your idea of the Priority Box notion has merit. I always use those when returning corrected printouts of manuscripts to book publishers.
  5. Mail theft—in search of accountability from the U.S.P.S. For many Americans, one tiresome trend in contemporary journalism has been the advent of columnists who seem to do nothing but complain in their commentaries. Such petulance can run the gamut from the whining of sanctimonious liberals to the iron-countenance attitude of “for-me-or-against-me” right-wingers. Of course, many of them—if not most— know that their fractiousness is their respective meal tickets. That’s not my op-ed style, but if this essay comes across like a “complaint commentary,” so be it. I’ve been writing for a monthly guitar magazine for some 29 years. In doing research on instruments, I’ve often relied on other enthusiasts to supply me with images of players, instruments, catalog pages, posters, etc., and I have developed courteous, business-like relationships with guitar lovers across the country, and even in other nations. My primary source in recent times has been a website that proffers scans of hundreds of catalogs of American, Asian, and European instruments. The online site also displays other equipment catalogs, price lists, and advertising. Some catalogs go back over a century. The owner of the site also buys and sells such memorabilia himself—catalogs are a tangential collectible genre, just like guitar picks or straps. Recently, I sent the owner a package containing 26 catalogs, brochures and flyers from my own collection, as he did not have images of those items—this was to be a simple act of professional courtesy in appreciation for all the times he’s helped me out, and it was my idea. I communicated with the catalog honcho about what I could send him, based on what I didn’t see on his website. He was to scan those publications on high-quality equipment to his own specifications, and would then return them to me. The packet was shipped in a 13” X 10” manila envelope to Kansas City, Missouri via Priority Mail from the U.S. Postal Service office in Tallassee. The website owner was looking forward to getting dozens of new images placed online. What he received a few days later was the envelope only, which had been torn open. The contents had been stolen, except for a list of the catalogs I had included. The envelope was now enclosed in a plastic wrapper of sorts by the U.S.P.S., and a notice accompanying the now-wrapped envelope indicated there had been damage to the package. The U.S.P.S. form had a title that read “Because We Care.” I’ve mailed magazines and books on almost a weekly basis for decades, which is one of the reasons I didn’t feel compelled to insure the contents when I’d mailed the package—I had never experienced something like this. The other reason was because I hadn’t researched what each item was worth…but I knew some of them were valuable. One of them dated from 1956, and was in mint condition. The catalog expert advised that he’d never had any previous mail problems, either. I decided to take this as far as I could, and visited the local post office. The Tallassee U.S.P.S. staff is always courteous, and that was the case in this situation, as well. One employee suggested that a machine might have torn open the package, causing the contents to spill out. That theory was punctured when I informed the employee that the envelope had been torn open on three sides. I was informed that any claim needed to be filed online. Apparently, a customer of the U.S.P.S. who has such a complaint has to work with a soulless computer instead with a real, live person. The online claim site indicated that I had to have an appraisal (or some similar term) from a noted expert in whatever category the missing or lost item(s) would be categorized, and the guy in Kansas City fulfilled that requirement. However, I stumbled regarding the list he’d worked up, accidentally filing the claim without attaching the appraisals. The U.S.P.S. site then informed me I couldn’t update my claim. The U.S.P.S. soon sent me a check for $50, which is their standard reimbursement amount for lost Priority Mail. I appealed, sending in the appraisal list with the appeal, but it was denied. I knew going into the claim process that my effort could probably be likened to a midge taking on Mothra, but such an institution as the U.S. Postal Service ought to be held accountable for such sordid debacles. But ultimately, all most of us can do is complain, if only to ourselves and our local peers.
  6. Willie G. Moseley

    What's the "B" stand for?

    "bulbous", considering the shape of the headstock
  7. Willie G. Moseley

    Eddie Van Halen in Bad Shape

    Made it so.
  8. RE the guitar catalog packet that had been ripped open and the contents stolen, noted here some weeks ago, the USPS sent me a $50 check (standard for an uninsured Priority Mail reimbursement), but I appealed (as I had the right to do). Another letter from the USPS rec'd yesterday declined to change the amount. Watch for the text of a newspaper column on this sordid episode coming up on this board, most likely in the next couple of weeks.
  9. Willie G. Moseley

    Gibson files for bankruptcy

    My perception is that Kiz would have had a great career as an auctioneer.
  10. Willie G. Moseley

    Gibson files for bankruptcy

    RE Joe B., a lot of us consider him to be a "player's player", which is a polite way of saying he ain't all that famous to the general public. My first reaction upon seeing the "announcement" considering him and Gibson was that it was a gag.
  11. Willie G. Moseley

    Guitar-related domestic violence

    RE: Hamerhead's sister's accordion: Are "Play Accordion--Go To Jail" bumper stickers still around?
  12. Willie G. Moseley

    Guitar-related domestic violence

    RE "hang": "Hang down your head, Tom Dooley"?
  13. Willie G. Moseley

    This is probably a stupid question, but...

    As a bass player, I still had a fuzztone stomp box (not an overdrive). First one was a Big Muff Pi (early US/pre-Soviet), later a Danelectro. The distortion would be "sonically intentional"; it was supposed to fill in a bit of space during certain guitar breaks, and I was inspired to develop the notion by the second guitar break in the Who's "We're Not Gonna Take It" in Woodstock. Sounded like Entwistle turned on some kind of fuzz device, and for me, it was unforgettable. Tangent: Also used a Small Stone phase shifter (in the "reverse" mode) for my solo in "Mony Mony"...
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