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Willie G. Moseley

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Willie G. Moseley last won the day on October 12

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About Willie G. Moseley

  • Rank
    Veteran HFCer
  • Birthday 07/19/1950

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

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  1. I won High Game Handicap one season in my own bowling league but was ulitmately disqualified on accounta my unique style: Overhanded
  2. ^^^^ You musta seen that episode of "Undercover Boss" as well...
  3. My research indicates that the Decatur plant did not make guitars, Interesting to see a picture of actor Paul Giamatti at the 1:32 mark. If that plant closed in 2010, that is indeed the same year Peavey suspended domestic standard guitar production. That said, they have been making Composite Acoustic brand guitars in Meridian all along. They began making standard guitars again in Meridian in 2017. These two are examples of what they're building now.
  4. I've noted on other "relic" threads that I have no desire to buy a new guitar that already looks beat up; simple as that. I don't think that 'tude will ever change. That said, I got to thinking that a guitar ought to be "visually appropriate" for a performance. If you know your pending audience, you know you probably shouldn't take a relic'ed guitar or one covered w/ R-rated stickers to a country club dance, just like you prolly wouldn't want to take a mint ES-335 or a jazz box to a loud club gig that caters to Millennials. And what if the relic'ed guitar isn't even a Gibson or Fender (the only two brands many but not most of your audience would have prolly heard of, anyway)? I saw a relic'ed Fano a while back. It may be a fine instrument but isn't a well-known name, and it would look awful to most observers.
  5. I've been working up an analysis of 1973's Space Ritual for potential inclusion in the guitar magazine for which I write, but so far no luck from the band's office, etc. in getting pix of Brock and Lemmy from that era. And Getty Images costs too much. I'm not gonna complete and submit it until I get some usable archival photos. But this thread gives me an opportunity to inquire to you youngsters once again about names and definitions of musical genres: A while back, a Gen X'er journalist referred to Hawkwind as "prog" but I tend to disagree. To me, Hawkwind was/is "space rock" while back in the day, "progressive" was Yes, ELP, King Crimson, etc. Hawkwind purveyed pounding, chord-based songs that went on and on, and interpolated chattering/slithering synths, disembodied flutes and saxes, and spoken-word ruminations abetted by whooshing white noise...and for the most part, they still do, from what I can tell. Iconic progressive bands specialized in complex arrangements (including time signatures), as well as unique (and listenable) vocals and lyrics And my perception is that what's called "prog" in modern times (Neal Morse, et. al.) has elements of both "progressive" and "space rock" but also has more fast guitar riffing, contrasted to the "chops" of Messrs. Fripp, Howe, Hillage, etc. that actually serve the song. Maybe Bill Nelson's another example from the '70s. "Prog" also usually seems to feature soaring (and sometimes annoying IMO) vocal histrionics (a polite term for what a friend of mine called "shrieking"; YMMV.). I know I'm stereotyping, but I utilize as many facts as I can accumulate before I do stereotype. And maybe it's somewhat of a generational thang, but how accurate are such curmudgeonly perceptions? Input and comments appreciated.
  6. ...were there not as many guitars and basses (incl. brands and models) at blowout prices on the major selling sites this year? I landed on one, and there leadoff portion was chock fulla gizmos. You had to scroll down a considerable way before guitars started showing up, which may have been intentional on that website. The rationale is that I wasn't looking for anything in particular anyway, and I'd bought a Fender ltd. edition Offset Telecaster as a Black Friday deal last year. Just didn't seem to be as much of a selection this year. YMMV
  7. How do they get the top to look like that? Prolly the most dynamic "contrast" (for lack of a better term) I've ever seen in a flame maple finish.
  8. I'm a fan of hardtail Strats so something like this or a James Burton Tele is gonna be interesting. The one instrument I have in such a configuration is a custom-color Robin Rawhide; sounds interesting in all five pickup settings.
  9. https://www.rollingstone.com/music/music-news/a-history-of-rock-and-roll-hall-of-fame-no-shows-2-231972/
  10. ^^^Fine tuning RE the Wayne State video: 1. Kramer's playing a hyper-rare Ampeg black guitar (instead of clear) 2. Note how many times Thompson loses his sticks. 3. Kramer's "goodfoot" move shows up around the 0:55 mark and also at the end of the song. He was just as cocky at B'ham on the same song
  11. That album was a Kim Fowley con. YMMV And if the R&RHoF was egalitarian/democratic, Paul Revere & the Raiders and Grand Funk R.R. would have been inducted many years ago. I stopped paying attention to that yearly corpulent blob of self-indulgence/self-entitlement a long time ago.
  12. ^^^The treble pickup on the SG w/ Strat electronics is reversed (for a right-handed player) to evoke a more "Hendrixian" tone, since Hendrix played lefty on a right-handed instrument, as Marino explained to me in Mobile in 2007. He had that one, a couple of custom-made hollow SG style guitars, his iconic SG from the days of Cal Jam 2, and others on tour when I interviewed him in person. One of the highlights of that concert, for me, was when the other guitar player switched to violin. Fit the presentation like a glove. Here's a link to the gear-centric 2007 article from the Mobile concert (lotsa photos): https://www.vintageguitar.com/3484/frank-marino-2/ And here's the 2005 article that cited Real Live in detail: https://www.vintageguitar.com/3422/frank-marino/ I'd also interviewed Marino in '98; ain't got a link to that one but the later two interviews are enlightening. FWMOW, Frank Marino epitomizes the difference between "rock star" and "musician". He's always been in the latter category.
  13. ..yes, the professor gets a lotta inquiries about being a Brian May impersonator...
  14. I forgot I had this on a CD-R of instrumentals I'd burned, and the Real Live album (2004) from which it was culled is not in the regular library on accounta the cover's autographed. It was an unexpected pleasure to re-discover this nugget. This song has several things going for it: The tone is unique (YMMV) and I think Marino was using a custom-made SG-shaped guitar that was (partially?) hollow, and it had f-holes, thus the resonant but bright sound. Also, Marino's licks command attention, slowly building in intensity but never getting frenetic, and sounding at times like Middle Eastern-influenced stuff rather than blues riffs. Then there's the interesting passage towards the end where he does a repetitive line that climbs upward, and he switches the lick by a half-step each time---there's prolly a musical term for that kind of riffing but I wouldn't know what it is. Another nice touch is a solo, chord-based version of "Somewhere Over The Rainbow" that introduces "Try for Freedom". It's reflective and sweet. Here's a link to "Somewhere Over The Rainbow": ...and here's the connection to "Try for Freedom". You're welcome in advance:
  15. ^^^^From what I recall, this woulda been after Mongrel (their third) was out. Dude had curly black hair and played Seger's SG while Seger just sang.
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