Conference napalm::guitar

Correction - the Outlaws did "Green Grass and High Tides".

The Marshall Tucker Band did do "Cant You See".

alan

    <Color me a deep red!>
    
    :-) 
    
    
    
    

    
     I too used to really enjoy the Marshall Tucker Band and several
    years back was in a band that covered a lot of their material..
    including Ramblin,Heard it in a Love Song, Can't You See, This
    Ole Cowboy and 24 Hours at a Time.
     The chords to Can't You See are simply D-C & G..playing the
    leads out of a D major scale..
     I'll have to sit down with guitar in hand to remember the 
    chords to Green Grass & High Tides ..I believe the opening
    chords are E min, C, G, D, A..there's several different
    change ups thru the tune..you may be close on the part you
    entered...
    
      Rick J
    who hasn't entered a note in here since #200..but I may am
    an avid reader...it's the best file on the system.
    

    Wes, 
    
    	As far as I know, "Can't you see" is in fact by Marshall Tucker.
    
    The tune "High Tide and Green Grass" is an Outlaw's tune. It's easy
    to mix up these two bands. The Gibson Les Paul is THE Southern Rock
    guitar, for the most part. Everyone from Duanne Allman, to Charlie
    Daniels, to Dickey Betts, to Toy Caldwell etc. etc. has used them.
    
    	Depending on what key you're doing "High Tide and Green Grass"
    the solo is played over the following chords:
    
    	If you're playing in Emin/G:
    
    		Em  C   G   D   A
 beats          1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
    
    	If you're playing in Amin/C:
    
    		Am  F   C   G   D
  beats         1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
    
    
    Regarding. "Can't you See"  I can't recall if I play this in E or A.
    I think I do it in E, in which case, the main chords are:
    
    E	            D               A	            E
    1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
    
    
    	Hope this helps
    	Mark

    When I was in high school and college, it's amazing to think how the
    Allmans, Outlaws, MT Band, Charlie Daniels and other Southern bands 
    dominated the airwaves. 
    
    Geez, I can't think of a single Southern "guitar" band who has a hit
    today. 
    

    I think .3 is right, Can't you see should be done in D instead of E
    
    transposing everything down a whole-step yields:
    
            D               C               G               D
    beats   1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
    
    These chords are repeated throughout the entire song. It's a great tune
    to sing, and play lead to, even thought it's a simple chord pattern.
    
    High Tide and Green Grass is a bit more challenging.
    
    The verses go something like this (assuming your playing in Em/G
    
          Em      G       C           D   
    beats 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4  repeat this 3 times
    
    the fourth time:
    
    	  Em      G       C               C
          1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
    
    The Chorus is sung over
    
    	  G       C       G         C BmAm
          1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4    repeat this 3 times
    
    the fourth time:
    
    	  G   F   C
          1 2 3 4 1 2 3 4
    
    The lead starts out being played over the chords used in the verses,
    then jumps into the Em C G D A and speeds up.
    
    Mark
    

> Geez, I can't think of a single Southern "guitar" band who has a hit today. 

Black Crowes (from Atlanta, GA)
Georgia Satellites (from Atlanta, GA)

and the last Allman Bros. album did quite well....

Dying, but not dead yet! 

alan

    regarding .5
    
    >> Geez, I can't think of a single Southern "guitar" band that has a 
    hit today.
    
    I can...........38 Special
    
    Some of the others are still playing for relatively small audiences
    (ie. The Allmans, CDB) but 38 Special still plays to very large
    audiences.
    
    If you haven't gotten into 38 Special Yet, check em out, especially
    "Hang On Loosely".
    
    Mark

    Thats "Hold On Loosely", Mark.
    
    Toy Caldwell plays a Gibson ES 335 with his F holes stuffed
    thru a bunch of strapped twins.  The man can WAIL on that thing
    too.
    
    jc (Long time southern Rock fan)

    Are the Outlaws still together (minus Rick Cua of course)?
    
    Mike

    Last I heard The Outlaws were touring the bar scene...
    I saw them about 6 years ago at the Mohawk in Ayer, Mass.
    Thats the last I've heard of them.
    
    jc

>    Last I heard The Outlaws were touring the bar scene...
>    I saw them about 6 years ago at the Mohawk in Ayer, Mass.
>    Thats the last I've heard of them.
    
I saw the Outlaws at the Penny Arcade in Rochester, NY about 2 years ago.  I
don't know them enough to know who was original or not.

Toy Caldwell has been at Sir Morgan's Cove in Worcester, MA at least twice in
the past year or two (although I never saw him).  Don't know anything about his
backing band.

adam

    
    Toy lives and plays in the Greenville area (Spartanburg, actually).
    As a matter of fact, I here he will playin' at Al's Pump House
    on 21-Dec-90.  You hear that Scarymon?  I'm leaving town on 
    20-Dec-90, but I expect a full report.  In Dandrea's words, it's
    "Cowboy Jazz" at its best!  His 335 is a white studio model - it
    looks like a factory custom job - no plugged holes and the nut cover
    says "TOY".

    Funny, this reminds me that Marshall Tucker played at my ole High
    School, Assabet Valley in Marlboro.  I never could figure what the
    heck Tucker was doin' at a freakin' High School, but I went and it
    was AWESOME!  Thats when I saw the stuffed holes...I guess he changed.
    
    jc (Who was weened on southern rock and JD ;)

    
    FWIW....
     I saw the Outlaws 2 years ago out here in Phoenix. Small place called
    the Celebrity Theatre. Not a bad seat in the house, Henry Paul was back
    with them, and they even played a couple of songs off his Grey Ghost
    albumn. A really great show.
    
                                         mIkEy Z.

    Toy Caldwell, guitarist, vocalist and founding member of the Marshall 
    Tucker Band, died yesterday at his home in South Carolina.  He was 45.
    He had been suffering from Bronchitis and Pneumonia.

RIP - This guy was a GREAT blues man, and I enjoyed him several times
in concert.  Bummer.  He lived in Spartanburg, BTW.  Bummer!

jc (Who STILL plays "24 Hours At A Time" on the acoustic...)

    he was to play at Jack's Saloon on Sunday....very sad to hear, he was
    kinda out of the limelight after MTB somewhat broke up but if you had
    the chance to see him with his new band, he was just as hot as he was
    in the mid 70's.....
    
    Chris

Agreed!  He played Als Pumphouse in Greenville a couple of times and I saw him
there...  He was smokin'!  Man, bad run of luck in that family, as the original 
MTB broke up after brother Tommy Caldwell died in car wreck in downtown 
Spartanburg...

jc

    
    
       Pardon me for the dumb ass statement here but...
    
    
       I didn't think you could die from Bronchitis/Pneumonia 
    in this day and age.   Guess I'm livin in a shell. 
    
    
       Rick.
    

Thats what Jim Henson died of too....

    RE: TOY......I saw him at Al's in Greenville.....inspiring blues and
    southern rock lix!  Good showman too.  Sad news.
    
    Bulldawg_souther_rock_0_maniac
    
    RE: Pneumonia is a killer......if you don't get the proper treatment in
    time, that stuff can take over and drown you right in yer own bed.  I
    think your general health has something to do with your ability to
    fight it, like many ither ailments.  Toy Caldwell was NOT in good
    shape...he was a rather, uh, large dude.
    
    Marcus Welbuilt
                                  

    >               -< lots of AIDS victims die of pneumonia >-
    
    True.  In fact, one doesn't die from AIDS ... it's only a condition;
    one which allows things like pneumonia, TB, Bronchitis, etc. to take
    over and do one in..

    When I got home Friday I pulled out all of my MTB LPs and started to
    spin a few, man I forgot how good of a band they were....maybe not
    forgot but it had been sometime giving them a listen...I think I need
    to update my LPs to CDs over the next few weeks..
    
    	Toy was a big guy and from the last time I saw him a big drinker..
    I had a message from a friend, who I spent a lot of time with going to
    see MTB, over the years of high school/college, oddest thing in his
    message was he planned on calling anyway friday to see if I wanted to
    go see Toy on Sunday.....
    
    Chris

    The main reason I always liked The M.T.Band was I could play
    the music and the leads from early on.
    
    I believe Toy made more use of the standard "Country blues scale"
    than any other Southern rocker even Dickey Betts.
    
    He developed leads from that basic scale on most of his stuff
    with a, more than occasional, jazz scale thrown in for color.
    
    I think this is a big reason Guitar players (especially Southern
    rockers like myself) like Toy.  He played pleasing riffs
    which could be followed note for note - real time.
    
    Big QUESTION though.. Why does "Cant you See" appear in
    the liner notes of WHERE WE ALL BELONG but the song is not 
    actually on the CD???

    Could someone post or post a pointer to the country scale (a diagram)?
    Thanks,
    \Gary

    The country scale is a MAJOR scale - same pattern as a pentatonic
    minor...basically speaking (naturally).  :-)
    
    jc (Doing upgrade tonight)

    Can't You See....which is in the liner notes on Where We All Belong can
    be found on the Searchin' For a Rainbow LP....why its in the liner
    notes is a mystery to me...but this is from memory, and I'm 99.9% sure
    CYS is not on WWAB lp........is the CD just one or 2 CDs ? I'll look at
    the LP and check it out...
    
    Chris

    >> *Can't You See* .......
    
    key of 'D', right Buck?  
    
    8^}
    
    Dawg (not diatonically speaking....)

    Re. the Scale   
    
    Thats it, but take it up and down the neck (obviously) two 
    or three octaves.  Then Bend into your D-chord ala Gimme three steps
   (Yes Lyn. Sky. not M.T.B) and dont forget to "crunch" bend the 
    B and E strings in the same fashion. (oh.. you know what I mean!)
              
    Several little Diads and Triads can be developed off this
    simple pattern.
    
    You be rockin southern style then boys...Just like Toy.
    
    Where we all belong is one CD (double LP though).  I think it must
    have been a misprint on the liner note. Re. CYS
    

    Yes, Dawg, it's in D *Mixolydian*!!
    
    
    The scale is the following:
    
    	* = Root Note, MAJOR Pentatonic scale
    	O = regular scale notes
    
    
    e-O--|----|----|-*--|
    b-O--|----|----|-O--|
    g-*--|----|-O--|----|
    d-O--|----|-O--|----|
    a-O--|----|-O--|----|
    e----|----|----|-*--| 
    
      7    8    9    10 - Frets

    e-O--|----|----|-*--|
    b-O--|-X--|----|-O--|     >> But Buck, I can use the X note (F#) can't
    g-*--|----|-O--|----|        I? 
    d-O--|----|-O--|----|           dawgster  8^)
    a-O--|----|-O--|----|
    e----|----|----|-*--| 
    
      7    8    9    10 - Frets

    

    e-O--|----|----|-*--|
    b-O--|-X--|----|-O--|     >> But Buck, I can use the X note (F#) can't
    g-*--|----|-O--|----|        I? 
    d-O--|----|-O--|----|           dawgster  8^)
    a-O--|----|-O--|----|
    e----|----|----|-*--| 
    
    
    Sure you can!  You can also use the other (x) following notes:
    
    e-O--|-x--|----|-*--|
    b-O--|-X--|----|-O--| 
    g-*--|----|-O--|----|         
    d-O--|----|-O--|-x--|       
    a-O--|----|-O--|-x--|
    e----|----|----|-*--| 
    
    ...but then you have a G Major scale -- gee, WHAT KEY did I say this
    progression was in?!?  8^)  ;')

    Re: "Can't You See"
    
    When I owned the 2-LP set, the song (live version) was on it.  Maybe it
    was cut due to length restriction (real or imagined) on the CD.  This
    has been done to more than a few 2-LP sets.
    
    The song's in G by the way, gang.  Typical V-IV-I progression. 
    
    						Phil Spectator	

re: .36
    
>    The song's in G by the way, gang.  Typical V-IV-I progression. 
    
Oh no, not you too! :-) :-) :-)

It's very rare for me to disagree with Brian (and it feels rather strange,
I might add), but I really can't see calling this song "in the key of G".
The tonal center is definitely around D to these ears.  I think what's
confusing is that it isn't in a major (or minor, for that matter) key
as we (traditionally) know it.  The flat 7th really seems to bother people
when trying to analyze it.  So Buck, what mode would be just like a major
scale except with a flat 7th? (i.e., D E F# G A B C D).  Maybe that's the
secret to analyzing the song?  

On the other hand, music theory is a methodolgy for trying to understand
why certain things sound good (or bad, or interesting, or whatever).  It
shouldn't be used as a (blindly applied) constraint.

-Hal

    >> ..Gee What key..
    
     Just use that last pattern as your center register
    and move down in 3 and 5 fret intervals( or up depending
    on how you want to structure it) for the low register and
    opposite the high register.  Vis-a-Vis "Blue Sky" All. Bros lead.  
    
   Start at low G and take it from there up to your position 
    and beyond in 5 and 3 fret steps.  This gives you a lot of 
    slide room also if your into Corecidian bottles. Sp?
    
    Mike (no time to diagram, maybe tonight)

    re: .37
    
    The concept of "key" isn't what it used to be, but I have to agree with
    Brian: it's V-IV-I in G.  Yes, it starts out on a D chord and spends a
    lot of time there, but to my ear it feels resolved when it's on the G.
    
    Dave

    RE: Hal Laurent @ MEL

    
    Well, there's only one key *I* know of that contains the following
    major chords -- D, C and G, and that is the key of G Major!
    
    
>> The song's in G by the way, gang.  Typical V-IV-I progression. 
   
    
>It's very rare for me to disagree with Brian (and it feels rather strange,
>I might add), but I really can't see calling this song "in the key of G".
    
    Why?
    
    
>The tonal center is definitely around D to these ears.  
    
    So what?!
    
    
>The flat 7th really seems to bother people when trying to analyze it.  
    
    Doens't both me -- it's D Mixolydian, the 5th mode of the key of
    G major!
    

>On the other hand, music theory is a methodolgy for trying to understand
>why certain things sound good (or bad, or interesting, or whatever).  It
>shouldn't be used as a (blindly applied) constraint.
    
    I disagree, but then again, feel that you probably would have also
    held the same arguement against the HyperAeolian modes of the
    Renaissance period!  8^)

    Try playing a Dm pentatonic pattern in the "B" position (4 frets
    down from the Dm pattern).  Works GREAT !
    
    :-)

    >Try playing a Dm pentatonic pattern in the "B" position (4 frets
    >down from the Dm pattern).  Works GREAT !
    
    That *is* D major pentatonic (what I posted like -3 back)!!

    Yeah!  What he said!!
    
    jc (Who wouldn't know a mixo-mumble scale if he tripped over it :-)
    
    

re: .40
    
>    Well, there's only one key *I* know of that contains the following
>    major chords -- D, C and G, and that is the key of G Major!
 .   
 .   
 .   
>    Doens't both me -- it's D Mixolydian, the 5th mode of the key of
>    G major!
    

Aren't you contradicting yourself here? :-)

I don't have a problem with saying it's in the key of D Mixolydian,
just with saying that it's in G Major.  "Major" and "Minor" are just
two of the seven modes.  Just 'cause the other five are not as widely
used in Western music doesn't mean that a song can only be in a major
or minor key.

-Hal

    I LOVE having this power!  I just start up an old beaten to death
    conversation with a subtle remark followed by a smiley and you guys are
    off to the races!  I'm kinda leaning towards the D Mixowhatcyamacallit
    thing as it sounds real neat and Buck is my new mentor type theory
    hero!
    
    By the way, wanna talk about Eric Clapton?  >|^}
    
    dawg_the_instigator.......

>    By the way, wanna talk about Eric Clapton?  >|^}
    
    No Phrygian way!
    
    Dave

    re: -1
    
    C'mon Dave...what's a couple of hundred more replies gonna matter?
    
    
    Another 'key' question.....there's a song by REO Speedwagon..."Keep on
    Rollin'.....I don't know what key it's in but the chord progression (if
    it was in 'A') is like A D G D and then returns to A.  The root note
    sounds like A, the vocal melody and lead position is in A major
    penatatonic .....but I suppose yer gonna tell me the song is in the Key
    of D, right...or A Mixolydian?
    
    enquiring dawg's wanna know (and NO, I'm not trying to start it up
    again...I think I'm getting the picture, that's all)  8^)

    >Another 'key' question.....there's a song by REO Speedwagon..."Keep on
    >Rollin'.....I don't know what key it's in but the chord progression (if
    >it was in 'A') is like A D G D and then returns to A.  The root note
    >sounds like A, the vocal melody and lead position is in A major
    >penatatonic .....but I suppose yer gonna tell me the song is in the Key
    >of D, right...or A Mixolydian?
     
    Yes Dawg, it *is* in the key of D Major!!  I'm so happy, I taught you
    well!  8^)  A Mixo for you techno nerds, A Major Pentatonic major is
    what that dood (Gary Richrath) is playing...

    Re. Eric Clapton
    
    Naw..  Why not stick to dead Southern guitarists.
    
    How about Duane Allman/T-Bone Walker
    
    	

    I miss Duane bad.......love that Duane Allman/Dickie B duo!
    
    
    Stevo the southern rocker