Willie G. Moseley

The way things evolved, the first thought I have if Randy Newman's name comes up these days is how much I enjoyed his soundtrack to The Natural, just a good ol' (and relatively authentic) All-American movie.

Tears for Fears

Steve Haynie has a valid point about the live concerts. I recorded quite a few onto a stereo Beta videotape, then VHS after Beta capitulated in that format war...but Beta sounded better. Dubbed teh audio to cassette and later, cassette to CD-R. They still sound passable. Kept most of the cassettes and recently examined what I still have and how they hold up sonically and musically. Some of 'em ended up as legit concert video releases, like The Cars Live in Houston 1984 (and I'm not sure that's the exact title). Not everything from certain concerts was used. That said, it was fun to process the ones that fit onto a C-90 cassette from the raw videoetape. I used instrumentals to fade out the sides. YES: Edmonton, Aklbaerta-1984 90125 tour (Later released as 9013Live, I think) DAVID GILMOUR: About Face tour, 1984 AMNESTY INTERNATONAL CONCERT: 1986 HUEY LEWIS & THE NEWS: San Francisxo 1984 PAUL SIMON IN ZIMBABWE: 1987 GENESIS IN BIRMINGHAM, ENGLAND: 1984 ASIA LIVE IN JAPAN: 1983 (RAW) LIVE AID---transferred to audio cassette but never processed: 1985 AC.DC: St. Louis 1983 VAN HALEN: New Haven 1986 VARIOUS AUSTIN CITY LIMITS PERFOMRANCES: TIMBUK 3, ERIC JOHNSON, STANLEY JORDAN, ETC. ERIC CLAPTON; NEW HAVEN (I think): 1984 (has my all-time favorite version of "Layla" plus a dynamite version of "Badge" that careens into "Let It Rain" ERIC CLAPTON: BIRMINGHAM ENGLAND, 1986 HEARTBEAT '86: Benefit with Moody Blues, E.L.O., etc. TEARS FOR FEARS: London 1984 PETE TOWNSHEND: Brixton HUEY LEWIS & THE NEWS: Los Angeles 1092 ATLANTIC RECORDS 40TH ANNIVERSARY MR. MISTER: The iRitz, NYC GOLDEN EARRING: Holland 1984 (a lot better than might be expected) FIXX: St. Petersburg, 1984 FABULOUS THUNDERBIRDS: London 1985 BILLY JOEL: Nassau Coliseum CSN: New Universal amphitheatre 1983 38 SPECIAL: Nassau Coliseum 1984 I've also got a dub somewhere of a concert featuring the Romantics, Heart, and Huey Lewis & the News (in that order). The Romantics' "What I Like About You" with a segue into "Little Latin Lupe Lu" is stone devastating (Mitch Ryder rules!). Back then it inspired my bar band to come with something similar, and the end result, clocking in at least 20 minutes was "Mony Mony"--bass solo, incl. snippets from the "I Love Lucy" theme, "Danger Zone and "Tequila"--"Born to Be Wild"--"Mony Mony" reprise---drum solo---"Little Latin Lupe Lu". One of our strongest efforts, usually went over like gangbusters.

...and there is no such thing as "reality television." There is no way a person behaves normally in his/her lifestyle if he/she knows a camera is recording him/her. Moreover, in the real real world, persons of numerous races, ethnicities, lifestyles and other demographics don't participate in tokenism-fueled residential experiences. The very moniker of "reality television" is phony. I've never watched a reality TV show, and never will.

....made me want to play electric guitar. I didn't follow through too good. Maybe that' s why I switched to bass.

RE Bing Crosby and "White Christmas", I settled in and watched the movie again for the umpteenth time this week (one station was playing it over and over, a la SyFy and the original Twilight Zone series). I have a policy of viewing it at least twice each Christmas season if possible, and the continuous broadcast of White Christmas is a handy option. What makes this personal ritual worthwhile is that the movie exemplifies how, in those times, many mainstream movie stars had a more-meticulous occupation---they had to sing and dance and act. The choreography is dazzling, and it didn't hurt that Rosemary Clooney and Vera-Ellen were both babes. That movie will always hold up, for me at least.

Handel's "Hallelujah Chorus". Also utilized for Easter

"Fool" was a good song that sounded like it fit his type of vocalization just fine. He sounded soulful without over-emoting, FWMOW Then was the Willie and the Poor Boys project, as organized by Bill Wyman. Yes, it was a temporary oldies-performed-by-all-stars thing but the selections of classic tunes they performed was terrific. Watching Charlie Watts hamming it up was fun, too. I was particularly imbued with Rea's vocals on "Baby Please Don't Go"

Interesting to see what Dennis DeYoung was up to back then (between you and Nickle, wearing the vest/flak jacket) Wouldn't think he could sublimate his own name to play in a combo with someone else's moniker...

My perception is that Morty runs an efficient and popular show (otherwise he wouldn't still be doing it). The one time I was there, he brought in a stack of pizzas for dealers during load-in. Nice touch.

Was listening to the live CD of Donald Fagen's The Nightfly, and it struck me that back in their heyday, it would have perhaps been difficult to describe Steely Dan as being in a particular genre of music--they weren't progressive, weren't blues or hard rock, weren't purely pop, etc.. Yet the stuff was quite listenable. There were numerous other artists around over the decades that defied categorization, and oftentimes their earlier material was the best source of such validation. For me, it would have been Thomas Dolby's first two albums, early Peter Gabriel solo albums, etc. (may add others here as I think of them). The Atlanta Rhythm Section was once pronounced to be "the Southern Steely Dan" and IMO that's valid, although the ARS still had a decent Southern rock foundation. David Bowie? Maybe, but he was more of a trendy chameleon. Others (and why)?

I stumbled across this while doing research for a book on a famous shopping center, of all things. I'd almost completely forgotten about it. It dates from March 1989 in the Montgomery Advertiser. The Harmony guitar that's missing the logo turned out to be a short-lived Stratotone variant called the Roy Smeck model; it dates from 1961. This Missus had just gotten pregnant back then, and that same month I went to the first Atlanta guitar show (at the Omni) figuring my collecting jones was going to be tapering down. But picked up a small tabloid called National Music Trader, and I sent them an article I composed about the Roy Smeck. That tabloid turned into Vintage Guitar Magazine, and the band imploded instead my collecting adventure Almost 37 years later it's interesting to note what was notable about collecting evolved in the ensuing decades. I think most of what I said herein still holds up. Comments?

Age 84. A giant who was not only a musical influence, but validated the notion that someone's color should be irrelevant when it comes to music. And he first took that step in an integrated band in the early '60s, during the glory days of the original Civil Rights Movement. But his proprietary licks and tone were unforgettable. Someone else opined that he could hit one note and you'd know who it was. First guitar lick I ever learned was that immortal twangy intro to "Hip Hug-Her"

Upload; I've tried several times with "edit". After "insert" the jpeg shows up under the original text but when I hit "edit topic" it doesn't come through

How come I can't get the jpeg of the 1989 newspaper story to come up on here?

I stumbled across this while doing research for a book on a famous shopping center, of all things. I'd almost completely forgotten about it. It dates from March 1989 in the Montgomery Advertiser. The Harmony guitar that's missing the logo turned out to be a short-lived Stratotone variant called the Roy Smeck model; it dates from 1961. This Missus had just gotten pregnant back then, and that same month I went to the first Atlanta guitar show (at the Omni) figuring my collecting jones was going to be tapering down. But picked up a small tabloid called National Music Trader, and I sent them an article I composed about the Roy Smeck. That tabloid turned into Vintage Guitar Magazine, and the band imploded instead my collecting adventure Almost 37 years later it's interesting to note what was notable about collecting evolved in the ensuing decades. I think most of what I said herein still holds up. Comments?

Sonically they're going to be pretty different because of the bodies' differences in construction. 335 = laminated front and back with separate side piece, Savoy = hogged out block with cap. I bought my first Savoy because of the ergonomics. For a thinline-shaped guitar, it was incredibly comfortable. When I sold my collection (piece-meal over several years) my Savoy was the only Robin I kept.

At least one of the attendees brought in several instruments on what appeared to be a vintage red Radio Flyer wagon. I've seen such practical utilitarian efforts at other shows, and I always point to the rig and yell "How much for just the wagon?" For the record, IMO it was in Very Good Plus condition....

Now the reviews are starting to come in, and the first one from Houston is positive, and I don't think it has a paywall (yet) so try this link: https://www.houstonpress.com/music/robin-guitars-immortalized-in-new-book/

I was really gratified to have been able to schmooze in person at the Mesquite show with numerous folks who participate in this forum. The reception to THUNDER OUT OF TEXAS: The Illustrated History of Robin Guitars (including sales) was also gratifying. I did bring some copies home, and if anyone wants a signed edition, please PM me or email me at willie@vintageguitar.com. Thanks in advance. Here's Ram Tuli of Phoenix, co-author of the Vintage Guitar Price Guide, along with some mystery tramp with a bad back who's three quarters of a century old.

One of the players who utilized a six-string contrabass in an innovative manner, and IMO exploring sonic horizons was one of the reasons such an instrument was invented. His work on a live album from Japan with Steve Khan's band Eyewitness was jaw-dropping.

I don't speak Swedish but methinks these are positive social media endorseents from bassist Mats Jeppsson (who's profiled in the book) Anybody wanna translate? Thanks in advance.

Here's a couple of additional teaser potos H asers

Bi Biloxi, Mississippi, March 16, 2013