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Willie G. Moseley

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Willie G. Moseley last won the day on March 27

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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)

Contact Methods

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

Profile Information

  • 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. In the '60s, he used a Mosrite Mark XII; one of the rare 12-string electrics that feature an optional vibrato. This instrument was also on the cover of the Gentle On My Mind album And although it's not a 12-er, here's another unique model he used---a Mosrite Celebrity CE-1 Mark I(full depth). ...and he posed for publicity/advertising photos with a personalized Dobro D-100 Californian hybrid guitar.
  2. ^^^^Atsa '82 Firebird II, which was a "floor sweep" model that used up RD parts and circuitry. Body was contoured a bit more in a Firebird shape. Were made (in K-Zoo IIRC) for about a year and half; I'd have to check the serial number but I don't own it anymore. I've also seen 'em in a regular brown Gibson sunburst and natural. One source said a total of around 100 were made. IMO this model and other "floor sweep" instruments are definitive examples in the discussion/debate about whether something is collectible simply because it's rare or discontinued or assembled from leftover items from a model (the RD, in the case) that was a flop in the marketplace.
  3. https://www.cnn.com/style/article/kurt-cobain-guitar-sold-intl-scli/index.html
  4. "Scuse this redundant image post of my father in my office (from the late '90s); I think I put it up a few years ago soon after he passed away. This time it's to validate the "one of each major style" collecting philosophy I had during the halcyon days. Of what can be seen, which instrument looks the most interesting to you?
  5. When I ordered a custom-made guitar for the first time (1994; delivered in '95), I specified dog-ears. Seymour Duncan personally wound 'em to have what he called "a warm, bluesy sound."
  6. About two and half years ago I wrote a column for an area weekly newspaper about her, due to the inclusion of "White Cliffs of Dover" in a local theatrical production. Text pasted here: ‘Does anybody here remember Vera Lynn (DBE)?’ Let’s tell it like it was: This past weekend’s grand reopening of Tallassee’s Mt. Vernon Theatre and the musical drama presented there comprised the kind of event that this community needed. From what I could tell, it was a well-received production that brought smiles to the faces of almost all of the attendees in the newly-revitalized facility. And that’s heartening. One wonders how many readers will recognize the title of this week’s commentary as the first line of a very brief song titled “Vera” on Pink Floyd’s morbid-yet-iconic album The Wall, but that’s not the subject of this essay. For that matter, the caboose abbreviation, which stands for “Dame of the British Empire,” isn’t part of the Pink Floyd ditty’s lyrics. I’ll let other writers critique the musical and dramatic performances in Dear Mama in detail, but one song that stood out, at least, for me, was Susie’s Seal’s rendition of “The White Cliffs of Dover.” That song was performed in Great Britain during World War II by English chanteuse Vera Lynn, the subject of the Pink Floyd tune. It’s a plaintive and wistful prediction of what life will be like after the hostilities have ended, and Seal’s pure and natural voice appropriated such a musical rumination perfectly. The second line of Pink Floyd’s “Vera” states: “Remember how she said that we would meet again, some sunny day?”. That’s a reference to Lynn’s other huge wartime hit, “We’ll Meet Again.” And it seems somewhat bizarre that the first reference some entertainment buffs might recall regarding “We’ll Meet Again” was its use in the closing doomsday montage of nuclear weapon detonations in the 1964 film Dr. Strangelove. For younger generations, it’s also heard in a 2017 movie called Kong: Skull Island. Odd cinematic associations of her best-known songs aside, an examination of Vera Lynn’s life validates why she’s a national treasure for Great Britain. Even though her earliest hits were heard over 75 years ago, she’s being referred to here in the present tense—she’ll celebrate her 101st birthday on March 20. Vera Lynn began singing in public while she was still a child. Like many American vocalists of her generation (Doris Day, Betty Hutton), she first came to prominence as a singer in dance bands. She recorded her first album in 1936. Other hits by Lynn included “A Nightingale Sang in Berkeley Square” (also recorded by Bobby Darin, Rod Stewart, and Mel Torme, among others), written in late 1939, soon after the outbreak of World War II (it helps to remember the British were in that conflict for over two years before Pearl Harbor brought the United States into the conflagration). And by its very title, “There’ll Always Be An England,” is obviously another patriotic song that Lynn recorded in the early days of the war. As it turned out, Lynn became a British equivalent of Bob Hope (who was born in England), ultimately becoming known as “The Forces’ Sweetheart.” She was a prominent member of the Entertainment National Service Association, which was created to coordinate entertainment events for troops (even those in faraway lands). Lynn did concerts in India, Burma, and Egypt, and created her own radio show in 1943, performing songs requested by soldiers. She also visited families of military personnel, passing along their messages to their loved ones via the airwaves, and did morale-boosting shows at British factories. After the war, she continued her successful music career for decades, and easily transitioned to television. She also continued her extensive charity work, for causes such as breast cancer and cerebral palsy. She was named as a Dame of the British Empire—the female equivalent of knighthood—in 1975. And it’s ultimately not surprising that she released a single in 1982 titled “I Love This Land,” written by André Previn, to mark the end of the Falklands War. The list of Lynn’s accomplishments extends over three-quarters of a century, and a recent milestone was an anthology album, Vera Lynn 100, released last year just prior to her 100th birthday. It peaked at No. 3 on the UK album charts. She became the oldest living artist to have a hit record, as well as the first centenarian to do likewise. The thing is, she beat her own record—she’d also had a hit album in 2014, when she was 97. Vera Lynn is the kind of personality whose historical accomplishments deserve appreciation. Being as how Tallassee and surrounding area is pretty patriotic, she sounds like our kind of, er, Dame.
  7. I think the fact that he pretty much completely crafted his guitar is a further factor (vs. bolting a neck to a body and painting and wiring it, and maybe a few other DIY moves). Agreed with the aforecited "qualifications" (seems like a dumb term to apply to legendary players in a discussion such as this), and another plus for him is he's always eloquent when he contributes to some of the documentaries I've seen. However, one wonders if the demi-god status of Freddie Mercury in rock music might have influenced whoever did the selecting...and from what I can tell, this periodical is English so it wouldn't surprise me.
  8. James Gurley (Big Brother & the Holding Co.)...I think. He was known to play Les Paul Specials and SG Specials, and is considered the founder of the Frisco psychedelic guitar style. Bandmate Sam Andrew recalled how Gurley was into the pure spectrum of sound and its potential. Barry Melton of Country Joe & the Fish said, "James Gurley is the 'Yuri Gagarin of rock and roll; the first man in space.' Gurley did not play chords all that well, in terms of conventional music. They needed a guy like Sam (Andrew) to tie things down. Gurley was into the sonic qualities of the instruments." Thing is, I've seen some in-studio shots of Gurley w/ an SG Special but it looks like the pickups are replacement DeArmond Dynasonics, of all things (but those pickups were underrated IMO). Here's Big Bro. @ Monterey, but a better version of "Ball and Chain" is heard on Cheap Thrills, IMO, and the opening track on that album, "Combination of the Two" also highlights Gurley's barely-musical sonic excursions...yet somehow it keeps your attention....YMMV
  9. Mick Ralphs on "Thunderbuck Ram" by Mott the Hoople. You'd be hard pressed to find a better example of a dialed up, overdriven P-90 sound (happens for the first time at about the .0:34 mark). Steve Hunter and Dick Wagner on Rock and Roll Animal and Lou Reed Live https://www.youtube.com/watch?v=vBiIkdc7pME
  10. Johnson's pretty much one of a kind (or, at least, an innovator) regarding his stage mannerisms. Kinda reminds me of that twitchy, spiky-haired dude in Devo's "Satisfaction" video...except Wilko ain't doin' somersaults. Nevertheless, there's kind of a can't-take-your-eyes-off-of-him vibe with his performance. And the coil cord in the Dr. Feelgood video is a nice touch.
  11. Topped out at 97. Down to 16, all with "specialized" designations (custom-ordered and made to my specs, display instruments for lectures, couple of rarities). Total includes one Peavey utility guitar and one Peavey utility bass.
  12. The one(s) I would like to have back are the ones I had to sell under duress, which happened more than once. Such financial hassles were undeserved, but that was the reality at the time. The decision to sell was self-imposed as I needed to contribute my fair share to household income. If I'd been able to retain them, they would have fetched even more down the line (many HFCers already know I sold the bulk of my collection about four years ago after I got on Social Security). I'd built my collection over decades in an honest and ethical manner, and to have to dispose of them because I had to (not because I wanted to) is something that others have faced as well (collections as well as individual guitars). If I had to select one of the long-gone guitars, I suppose it would be the one that epitomized (for me) "the old guitar phenomenon", a '63 Esquire with clay dot markers. It had the original case, which contained the original ashtray and drop tag (part of which was torn off). However, what nailed it for me regarding its status was the cigarette burns on the headstock. When I encountered the instrument in a pawn shop, I took one look at those and said "Gotta have it."
  13. ...and the LPs I remember from the Grant's record bin include The Ventures in Space and Play Guitar with the Ventures
  14. For the record, the house brand of W.T. Grant was "Bradford", found on appliances, televisions and radios...and guitars. One of the models that was sold at the Grant's in my home town was a Teisco-made solidbody with the elliptical-shaped hole all the way thru, like a primeval Ibanez. Don't recall if that one was a Bradford, Teisco, or some other brand.
  15. One of the best extended Southern Rock "tempo-shift" songs (w/ guitars comin' at ya from every direction in the second half) ever. Other candidates include "Highway Song", the live version of "Another Man's Woman", and of course "Freebird". Moreover, I've always like the way the studio version of "GG&HTF" crashes to an end with Hughie's edge-of-the-pick squeals.
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