Willie G. Moseley

....and keep in mind what "N.S.U." stands for on Cream's first album (1966) That established, some folks have opined that the live version on the first live album is arguably the ultimate live song by them, no small accolade considering that Cream established their own boundaries in performance. They really went balls-to-the-wall/take-no-prisoners on that 1970 version of "N.S.U." And it has the arguably greatest drum riff ever (twice) starting at 9:26.

This 1979 Rick 4001. For me, it was simply the best "fit" ever--ergonomics (to include weight and balance), sonic properties, "blend" capability with a guitar in a three-piece format, etc. Traded even on a Leo-era L-1000 when I was trying out a "how-many-of-this-model-can-I-acquire" experiment, and while the G & L category was interesting, I should have stuck with the original "one of each" collection guidelines I had set.

https://www.dallasnews.com/arts-entertainment/music/article/zz-top-billy-gibbons-future-22408165.php

Birds of a feather, different genres I may have bought Jones' greatest hits first. It was released in 1960 (when I was 10) but Homer & Jethro's anthology was a 1958 release.

There were several interesting guitars in the museum at Dollywood when we visited sometime in the '90s, including an original all-chrome Veleno

Mosr shots from the same concert q the two Beard images previously posted;

The gears in BFG's brain are always turning, I predict he'll come up with something that will keep him active and in the public eye but able to go at his own pace. Whatever he comes up with, if not a-one-original-member ZZ TOP, will still be innovative, with great guitar tones (I'm surprised at how much I enjoy Raw). Non-stop activity is simply Gibbons' style. David Blayney's Sharp Dressed Men (a 1994 tome) would have a reader think Gibbons and Ham were "management" and Hill and Beard were "labor". I agree with that observation, and had read the book back then on BFG's recommendation.

August 22 and 23 (load-in = August 21) Acworth Community Center--Logan Farms 4361 Cherokee St. Acworth GA 30101

This one is happening in three weeks, and I'm planning on attending and working a booth. Most likely, it will be e last official signing for THUNDER OUT OF TEXAS: The Authorized History of Robin Guitars, which is still selling well., so maybe it's an 'evergreen' tome. Bringing a few of the debut printing, which was a limited edition and has a embossed cover I'm bringing along my daughter to help out at the booth, since she had such a good time and worked hard in the VG booth at the Franklin, TN a few months ago. The venue for the Atlanta Guitar Show is just outside the Perimeter in Acworth (near Kennesaw and Marietta;, a bit northwest of the actual I-285 circle. Atlanta deserves a strong annual guitar show. Hope to see you there. W.G.M.

Showed the images to a knowledgeable guitar friend who worked at Peavey in the '80s and he said that the cap was "...definitely from a car."

^^^Excellent postulation. Its flat wide profile does make manipulation a lot easier, and I can visual that shape as something on the dashboard. Thanks

Prelims: During the most recent respite vacation coordinated with the local hospice folks, the Princess and I went to south central Kentucky to my mother's hometown. Elizabeth had never been there and I wanted her to know about her paternal grandmother's family (my Mom died when Elizabeth was 17 months old), so there was a visit to the home where my mother was born, the cemetery, etc. Plus we stopped by Cumberland Falls. We were a little ahead of schedule, so naturally I hit some pawn shops, and picked this '83 Peavey T-27. I had always been intrigued by this model, as it was of the few production model S/S/HB hardtails made (the only other ones I can recall off the top of my head were Gibson's short-lived US-1 later in the '80s (didn't Gary Richrath endorse that model?) and the Robin Medley. Seemed like almost all S/S/HB guitars had high-tech vibratos. And Robin made a S/S/HB Medley bass. The T-27 had Peavey's patented coil-rolloff circuitry but it's set up differently from the T-60 (I'm still figuring it out). But I'm wondering what the replacement toggle switch cap is, and the intrigue is admittedly the main reason I bought it. Its wide-and-flat configuration is easy to locale (by feel) and easy to manipulate. Any ideas? Thanks in advance.

Seems like most folks who purchase a Hofner Beatle Bass or Club, etc.( at all price levels) have been talking about using flat-wound strings, but is there something i should know if I want to use round-wounds? How would the sound differ, considering the body construction, scale, etc. Thanks in advance; I just got a present-day cheapo Club that's a lot of fun to play but it came with flatwounds.

Anderson is as much of a "humbler" as Danny Gatton, Roy Clark and Roy Buchanan were. Highlight of the first guitar show I ever worked for VG Magazine (Atlanta 1990) was a jam session with Steve Morse, Jeff Berlin and Anderson. He's one of Kentucky's best kept secrets

Couple of tunes from a San Diego club on 7 MAY 26

Maybe I oughta blow it away with a shotgun, on camera like Ted Nugent done to that Casio keyboard back in the '90s (somebody ought to post the link to that episode). Seriously. This thing feels "tainted" and I can rationalize the $ amount as "lesson learned."

Maybe I could send it to Gibson and let them run a steamroller over it. Hasn't that been a publicized event for the company in times past?

I think maybe I'll grab a Sharpie, write "COPY" on the back of the headstock, and donate it to a thrift store. Would that be acceptable?

In my neck of the woods "You Never Even Called Me By My Name" was a mandatory song for bar bands. It was a "learn it or get your ass klcked by the patrons

No, the title wasn't inspired by my first marriage. Per a March 6th thread here called "Pawn Shop Revenge" I jumped on what appeared to be a Gibson Dave Grohl DG-335. Turns out it's a "Chibson" but it's fine instrument---plays well, sounds good, is well made, balance nicely.And it's in mint condition. I acted quickly because I simply didn't it to let it get away. The Gibson authority I contacted afterwards (and sent jpegs to) cited the following "telltale signs": (1) The bridge has large-diameter height adjustment posts with a slotted screwdriver head, (2) the frets are over the binding (without nibs), (3) the tuners don't say "Grover" on them, and they look like Grover copies. I suppose it could hang onto it for personal use but this episode feels "tainted" for lack of a better term. Donate it to a charity? It would be hard to establish the tax write-off amount. Any other suggestions? Anybody else ever been thru a situation like this?

At least it's got the handrest. Contemporary version of the 4003 doesn't. If I was still gigging thart piece of hardware would be mandatory.

I just checked out that video and it's very informative. There aren't any historical photos of personnel, the plant or of famous players gigging with the instrument; just pictures of assorted models that don't coordinate with the narration. Still, it appears did an appropriate job researching the brand's history.

^^^One of the hype facets was that the trem was supposed to maintain the integrity of an entire chord, not just a couple of strings, when the vibrato was used. Wonder how it compares to later vibratos like Steinberger's Trans=Trem