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Willie G. Moseley

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Willie G. Moseley last won the day on January 24

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About Willie G. Moseley

  • 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 + a ca. 2000 Peavey Wolfgang Special ST utility guitar
  • 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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  • Website URL
    http://www.vintageguitar.com

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

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  1. Availability of paper + price increases have really slowed the print business down in recent times, particularly since my publisher only uses American printing companies (no imports from Asian printers)
  2. 1977's Tequila Mockingbird was a personal smooth jazz favorite, with judicious use of synths but his earliest stuff like "Hang On Sloopy" was unique for its time. Never heard anything disappointing from him.
  3. Ain't that a Barney Kessel Trini's playing? 3 + 3 crown headstock, only one toggle switch, double parallelogram inlay, standard f-holes, standard pickguard. Note the tailpiece as well whenever it gets into the picture.
  4. ^^^Valid observation, IMO. Truth was released in July 1968, 12 days after Shades of Deep Purple. Thanks.
  5. Phil "Fang" Volk pronounced the Raiders to have been "the Marx Bros. of rock and roll." They had the chops but generally opted for schtick in performance. And here's Peter Frampton's perspective on Humble Pie (Performance--Rockin' the Fillmore in particular: “It was heavy rock, not heavy metal. Blues or rock with Steve [Marriott]singing R&B all the time. When it came to solos, you had me with jazz influences and Steve playing harder riffs, so it was a mish-mash of styles that made Humble Pie so vibrant and lyrical.” (Vintage Guitar Magazine, March 2014)
  6. The definitions and history of those two extremely-guitar-based genres has been hashed out here before, but I recently bought the CD/DVD set of Blue Cheer's Rockpalast concert, and that got me to pondering what bands initiated what genres with their debut albums, which is pretty much the case for almost any music. I don't really know of a band that innovated some kind of popular musical stylings after they were already established and had already recorded and released an album or album(s). While some did shift gears, did they actually pioneer a new sound in doing so? And maybe success/longevity ought to figure into the mix. First, my personal criteria for differentiating between Hard Rock and Heavy Metal is pretty much tempo-based. Both have loud guitars but I can't envision a slow Heavy Metal tune. Seems Heavy Metal music should be loud and driving/pounding/relentless. Hard Rock is subject to numerous different tempos and arrangements. Slow (melodic) Hard Rock songs are sometimes called power ballads. Accordingly, Black Sabbath was Hard Rock...unless they created their own genre, something that coulda been called "Doom Rock", I guess. "That first album was scary as hell back then. IMO it still holds up and doesn't particularly seem dated. So with debut albums as the primary focus, IMO here's who did what to earn the title of "founder" : Deep Purple could be cited as the founders of Hard Rock with Shades of Deep Purple. Still holds up, too, and half of the contents were loud, reworked cover songs. They'd been influenced by the Vanilla Fudge, who were, IMO, the founders of progressive rock, so there's yet another genre. Blue Cheer was the founder of Heavy Metal. Vincebus Eruptum preceded the release of the MC5's Kick Out The Jams by a year. YMMV
  7. ^^^To clarify, I seen the side dots before making my post; my interpretation of "sissy lines" is that it applied to fretboard markings, not side dots. In '88 I briefly owned a Peavey Foundation Fretless and in the mid-'90s I had a Peavey T-20FL. Both had "sissy lines". Interesting sounds but since I was the lead singer, I needed more "insurance" about where my fingers were so traditional metal frets were like speed bumps. And I would look at dot markers--on the fretboard and on the side of the neck probably more than most players but I was a converted guitarist. Any lead singer who also plays fretless bass has my respect....even "moody rocker Sting". who even played an eight-string fretless regularly in his early days with the Police.
  8. Here's Charles Berthoud with a brief excursion into "Stairway to Heaven" on a six-string fretless bass w/ no sissy lines
  9. Never saw 'em live back in the day but their St. Petersburg concert on MTV from '84 was a favorite; I dubbed it from my Betamax onto cassette and later transferred it to a CD-R. Still got it, still enjoy it after 38 years. I was particularly imbued with West-Oram's guitar sound back then---kind of a blend of Andy Summers and David Gilmour with a lotta reverb made something unique. Apparently that's still his sonic turf. Thanks for the review (and the nostalgia), Brian.
  10. About a decade ago I wrote a newspaper column titled "The 'Heartbreaker' Chronicles", about songs with that single word title. At the time, the earliest I'd been made aware of was by the Andrews Sisters. Then there were songs in my generation by Led Zep, Free, Grand Funk RR, Pat Benatar Dionne Warwick and others, and more recent fare by will.i.am, Pink, etc. Was recently wondering about other songs with mutual titles and any diversity between them (the more diverse, the better) and have started a list for another potential commentary. For starters, there's "Eat the Rich" by Aerosmith and Motorhead, and "Lost in the Ozone" by Commander Cody & the Lost Planer Airmen vs. Motorhead. If there's a particularly twosome (or more) of similarly-monikered songs you recall, please advise. You might also want to note which you prefer and why. Thanks in advance.
  11. ^^^^According to some marketing research from a couple of years ago, Baby Boomers are still driving the vintage guitar phenomenon, Gen Xers aren't particularly interested in old instruments but Millenials are interested. I'd think the bulk of players from '77-97 were Gen Xers, so one wonders what kind of correlation can be made with the "doesn't exist" category. Some might even think there ought to be even more of such instruments available if players from that era weren't interested.
  12. The chat-at-shows concept to which currypowder is referring is known as "schmoozing"... No ego intended but I think I did that very well when I worked a booth at shows. The Vintage Guitar booth scenario was a bit different on accounta we were just peddling subscriptions and price guides, for the most part, but I was allowed to bring a few instruments to sell or trade as long as I didn't "hawk" them. And there were (now-former) magazine contributors who did indeed (try to) exploit the opportunity at the magazine booth. Definitive example was in California back in the '90s. Some guy who'd written a couple of articles got a satin exhibitor stickie like the rest of us, but when he showed up at the venue, he hung out inside at the entrance, trying to snag walk-in instruments, and never set foot in the booth. I could cite plenty of other examples of how journalists or self-appointed experts/historians act like they don't know **** about the real business facet of guitar shows but that CA recollection is enough (for now) to get the point across, and I don't want to come across (at this point) as a curmudgeon. As noted last March, the Franklin show was (supposed to be) the last show that I will "work", due to health reasons. I still may be able to "attend" a show (hang out for a few hours and maybe get some photos of certain instruments for potential future articles). And I've always enjoyed talking with readers, subscribers, dealers, and notable attendees. I became friends w/ a lotta decent folks, thanks to a common love of old guitars.
  13. The neon slap bass track reminds me of one of the first times I heard a bass becoming an up-front/lead instrument in a funk mode. Guitar Player was still proffering those one-song soft inserts in issues (a true floppy disc, if you will---I forget what their actual name was; "sound page" maybe?) and they had a contest for readers; one of the prizes was your song on a disc. This was like 30-something years ago. And a bass player named Michael Sciuto was the winner, with chops that could easily have inspired the redheaded guy in the videos in this thread. "Red" is faster than Sciuto was, IMO but some three and a half decades ago Sciuto's effort was stunning and unforgettable. Prompted me to buy Stu Hamm's Radio Free Albemuth (1988) but methinks Sciuto's piece was out first. I never really got serious about funk chops 'coz I was also the singer and it was all I could do to hold down root-five and carry the vocals at the same time. Plus, (GROSSOUT ALERT FOR PURISTS!!!) I played with a pick. Anybody know anything about what happened to Sciuto? One would have thought he would have gone on to a a bit of fame but I can't say I ever heard about him in anything further. Here's an alternate version of the sound page piece. I like the original better, 'coz it had fewer sonic embellishments. so you could focus more on the bass. YMMV
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