Conference napalm::guitar

    Selections 2,3,4 on VIII  are  selections from the classic guitar
    repetiore. The oldest is the first, and the most recent the last -
    this is one of a few methods of arranging a classic guitar concert or
    recording properly.
    
    #2  Sonata in A Major , by Scarlatti.
    		
    	This elegant piece I first heard on the record 'On Stage' by
    Segovia when I was 12 . The transcription from the Harpsichord origonal
    is by Carlos Barbosa-Lima and published by Columbia Music of
    Washington DC.
    
    #3	Prelude , by J. S. Bach
    
    	From the Prelude , Fugue, and Allegro from music written for 
    lute. This piece is also said to be written for the harpsichord,
    Bach made many transcriptions of his music from one intrument to
    another.  The piece was written in Eb major, but since the guitar
    inherited the lute repetiore this has been played in D major. 
    This is my own transcription, which I used the Gesselshaft collections
    as the source.
    
    #4  Spring by Castlenuovo-Tedesco.
    
    	From the collection Platero y Yo , written for the guitar in the
    early 1960's when the famous Italian composer lived in Hollywood, CA.
    This music is really a poem meant to be read, while the guitar plays in
    the background. This poem is about a mess of birds who have awoken the 
    character from a most slumber sleep. The whole peom is about a farmer
    and his donkey who most sadly dies . This movement ends with the farmer
    comparing the spring day to a bright red flower in bloom.
    
    
    I recorded the pieces in basicly 1 take, after a few false starts.
    This is how I think classical music should be done, and all were taken
    at once, that is I didn't stop the recorder between the takes.
    I used a 74 Ramirez , Augustine Blue strings of medium vintage and 
    the Segovia method of tone production, that is the flesh meets the
    string, and the flesh and fingernail slide on the string to produce the
    tone in the right hand. 
    
    Thanks , I hope you enjoy the music and overlook my poor faults!

OK, here goes my list of excuses, complaints, and disclaimers.  Oh yeah, 
for fun I also included some semi-usefull liner notes as well.  8^)

The following tracks were recorded `live' while I was with my last band, 
`The Night Life Band' about 2 months ago.  The tunes were recorded in a sleazy 
redneck bar (yes, you *may* drive your Harley up to the bar, I've seen it 
done) using a Radio Shack boom box strategically placed at the sound board.  
The built-in mics on the deck were used.  In other words, ya don't get much 
more rustic than this.  But, hopefully the `live' feel was captured.  All the 
leads you'll hear are mine, and most of the other guitar parts are mine too, 
even though the singer was also a very good axeslinger.  It helps to have a 
good buddy runnin' sound for you.  My rig at the time was:  American Standard 
Strat (blue FLS in bridge, no trem), Roland GP8, Mosvalve power amp going 
stereo into a Crate stereo 4x12 loaded with 50W Celestions.   My rig was in 
the mains via the Mosvale's line out.

"Tonight's The Night" (We Finally Say Goodbye) - This is an original 
country tune we wrote in honor of our drummer, who thought using sperm 
cells instead of brain cells.  I do the vocal harmonies on this one.

"Rocky Mountain Way" - Yeah, you get to hear it *again* !  I do the lead 
vocals on this one.  

"Radar Love" - The Golden Earring/White Lion tune.  Note the drums on this 
song.  I've got to hand it to Todd Spencer, one of *the* best drummers on 
the planet.


The next tune ("Evil Angel") is a song I wrote and arranged one afternoon at 
work with no guitar in sight (I had a vision ...  8^).  This was in 1985 when 
I was making a futile attempt to be a metal player, and my playing will prove 
it. It was recorded `live' at a biker bar on a Sanyo tape deck and 2 Radio 
Shack mics.  My rig then consisted of a Kramer Focus 3000 (with Floyd 
Rose), a Rat distortion pedal, a Boss chorus, a 100W Marshall Mosfet into a 
homemade Marshall slant 4x12 loaded with mongrel speakers (2 of 'em were 
Radio Shack jobs ...).  My rig was put through the mains using the line 
out, which is how I got that killer `psycho mosquito' tone.

The words make this song - kinda wicked, but for metal, it was pretty tame.

Hope you enjoy 'em !


Scary

    o Shadows in the Night
    
    o Stay with me Tonight 
    
    ...both were written and recorded in 1984.  This band was my "Berklee"
    band, with me on guitars, Bob P. on keys/lead vox, Jeff S. on bass, and
    Steve S on drums. The tunes were written by Bob and Myself (he did
    lyrics, I did music).
    
    I was using borrowed equipment from my roomate for these tracks.  A
    Kramer Pacer guitar thru a 50wt Marshall plexi head, thru a Teil
    4x12 with celestions.  A real 'rock' sound.  Synths were a JXP-3,
    bass was a p-bass recorded thru a regular rockman.  Drums were
    the Yamaha recording series.  I engineered/produced these sessions
    on 24 tracks as part of my audio degree (they were projects, but
    I only had 6 hours/tune to record and mix, so its the best sound for
    the time given I think).
    
    
    o Hop, Skip, and Jump
    
    This is another 24 tk project from my former band Peasant Kings.
    I didn't write any of this tune, but it was one of the more current
    things I had to tape.  I play the rhythm part on the right channel,
    and the solo.  I used an Ibanez RG550 thru an MP-1 based rack setup.
    Most of the stuff I used to record this, Coop has now!  ;^)  This
    tune went to tape in 1988...you can see between the two songs how I
    dropped the "Yngwie stacatto note approach" and went for the "Legato
    hammer on" approach in the latter band.  When I joined PKs, I realized
    my stacatto picking sounde like sh*t for solos in this band, so I
    modified my style to be more legato and horn like.  Remember, thsi band
    started off as a reggae band!
    
    
    fwiw...
    B.
    

The Lemon Song

	I have been sequencing the bass and drums for this tune for the last 
two weeks, and have been jamming along as each part was completed. I
was going to submit it as a 'play along' ,with no guitar parts, but Scary
talked me into adding guitars. I didn't attempt to recreate Page's
licks, but just did what felt right. There are some obvious flaws, and
even a few sour notes. I didn't take the time to edit them out. The
left channel guitar was laid down first a single take, with the right channel
being laid down next. The bass sound in both this song and the others is
custom crafted, on the XR1.

Guitar was recorded from the effects send of a mesa booger mkIII,
no effects except for the mesa reverb, and an alesis microverb. The amp was 
not miked. and bass done with a Proteus XR1, step time sequenced on a MC300 
sequencer. Recorded on a Tsacam 388, mixed down onto a Teac 250r cassette.

Fire

	Step wise sequenced drum and bass parts, similar set-up to
above. Recorded last fall for Commusic tape. The guitar is an improvisation,
done in a couple of takes. Hey, I'd be silly to try and copy jimi!
Consider it a loose interpretation, consistent with my ability!
I had lots of fun doin this piece, which is my major objective.

Manic Depression

	Stepwise sequenced from a score. I didn't have time to record any
guitars. The idea is that folks with 4track cassette systems can record
this background track, and overdub with their own guitar parts. Of
course, you have to like this kind of thing. Someday, I'll get around
to adding some guitar tracks. I'd be real interested in hearing if anybody
actually uses it to play along with.

Rick

    
    
    I submitted an old band tape of ZZ Top's LaGrange.  This was recorded
    in one pass in my basement.  Two overhead mikes into a boom box.   Not
    exactly high fidelity. 8-}
    
    I submitted it because that song always had some fire when we played
    it.  When the singer (the drummer) yelled "Yeah!" he meant it!
    
    I was playing my Hagstrom Swede straight into a silver-face Fender
    Twin.  Wide open.  Yes, it was loud in my basement but I was young and
    foolish.  Somewhere in the mix is a big old Hammond organ and a second
    guitar player.
    
    Kevin
    
    
     

    Well, here's what I submitted; I'm assuming that all 3 songs will
    make it onto the tape ...
    
    1. Going To California - the Led Zep song. This was probably the best
       3 Many Daves ever sounded. Thanks to Dave Russo for the phenomenal
       mix. I played mandolin, Dave Russo on first guitar and lead vox,
       Dave West on second guitar and harmony vox. 
    
    2. Where's the line Drawn - a 3 Many Daves original about "the Gulf
       War, growing up, and stuff like that". I played electric, the
       other Daves played acoustic. I used Russo's Kitty M3 thru a 
       Fender 4X10 cab at conversation volume, even for the lead stuff.
       Another great mix.
    
    3. Red Meat 'n Coffee - recorded in July 1983 (I know because it was
       2 days before I got married) on my cheap-o Sony 2-speed Reel-to-reel 
       with sound-on-sound and built-in echo. A hyper song for hyper times,
       sort of "White Boy Blues" meets Paul Gilbert playing with a drill.
       Not to be taken seriously.
    
    - Dave

    
    Addendum to .6 (GOOROO::CLARK)
    
    Just to clarify a bit more :^)
    
    1. Going to California
    
    	Dave Clark - Mandolin  		(left)
    	Dave West  - 6 string acoustic  (middle)
    	Dave Russo - 12 string acoustic	(right)
    
    2. Where's the Line Drawn
    
    	Dave West - 6 string acoustic	(left)
    	Dave Russo - 12 String acoustic	(right)
    	Dave Clark - Strat/Kitty M3 (middle)

    >2. Where's the Line Drawn
    >
    >	Dave West - 6 string acoustic	(left)
    >	Dave Russo - 12 String acoustic	(right)
    >	Dave Clark - Strat/Kitty M3 (middle)
    
    Is this the tune I hear you do all thsoe Reb Beach tapping licks in?

    There was a last minute filler put in at the end of side 2 called `TFSO
    Blues'.  It's a ditty I performed on night while the Scary_family was
    asleep and I was nursing soem Bacardi Black Rum.  It's a blues jam from
    the `Jamm Traxx' tape I have.  It was recorded by playing the tape
    through my home stereo, jamming along and tapping the results with a
    boom box - ULTRA low tech.
    
    I used an American Standard Strat, a 50W Laney combo, and a 10' Fender
    cable.  
    
    This tune got chopped off, but it was a filler anyway ...
    
    Scary

This is my personal entry, I sent it to Scary with the rest of the Three
Many Daves stuff and said "if you can fit it, great....if not.....oh well."

Well, I guess he found room!

Freight Train/Oh Babe it ain't no lie

This is something I recorded last February using my Tascam 246 unit.
"Oh Babe it ain't no lie" was written by Elizabeth Cotten, the only
versions of this song that I've heard were played by Jerry Garcia/Grateful
Dead.  I heard a tape once of Garcia playing solo acoustic, in which he
played "Freight Train" and then went into "Oh Babe...." from there.  So,
thats where I heard the tune.

I played all instruments and sang on this, except for Dave West, who played
the harmonica.

To record the acoustic guitar(s), I used the direct signal from my guitar's
pickup, into a Boss reverb pedal (using a touch of reverb), and also miked
the guitar, running both signals to the same track.

The electric lead was played on a Fender Telecaster, through a Roland JC77
amp.

Dave

    re .8
    
    yeah right, I use .011's, dude. Tapping ain't physically possible!
    
    - Dave-of-the-strong-fingers

    >                             -< oh sure! >-
    >
    >yeah right, I use .011's, dude. Tapping ain't physically possible!
    >
    >- Dave-of-the-strong-fingers
    
    Tell that to Ritchie Kotzen!!!  He uses .011's and taps like a mother!

    Actually, I think tapping's a little easier with thicker strings,
    provided the action is low.  The string has more mass so your tapped
    hammer ons don't have to be as hard to generate the same signal in the
    magnetic pickup.  Seems like you get a more consistant output level.
    
    Now BENDS, *that's* another story!!!
    
    Greg

    I used Martin Marquis mediums on Ornithology and regular lights (start
    with .10) on Curious Goods. Boingers was done too long ago to recall, but
    I know I DID use strings.  
    
    Sorry, got caught up in the rathole...
    
    1. Boingers
    	This was on COMMUSIC III 3-4 years ago. I did it as a contest entry
    	for a "Billy and the Boingers theme song." B & the B's was from the
    	Bloom County comic, and featured Opus, Bill the Cat, etc. It was
    	kind of a heavy metal band, but featured a tuba, and Bill on lead
    	tongue.  I didn't have a tuba, so substituted trombone. Probably
    	why I didn't win. The non-guitar parts were done on a Casio
    	CZ5000 and RZ-1 drum machine.  Guitar is Gibson L6-S, Lab L5 amp.
    
    2. Ornithology
    	A semi-bluegrass version of the Charlie Parker song. I always liked
    	the song, and wanted to record something acoustic. Guitar is
    	Alvarez-Yiari DY74. It seemed appropriate to quote bluegrass
    	flatpicking tunes in the middle (since Parker often quoted things).
    	Extra credit if you can identify the 3 tunes (one measure each).
    
    3. Curious Goods
    	I had been doing a lot of midi-only stuff when I remembered that
    	the reason I got into it to begin with was as accompaniment for
    	guitar and violin. So the main instrument on Curious goods is the
    	L6-S again, with a small bit of electric violin. Midi equipment
    	was a Roland D110 and Proteus 1, sequenced using Dr T's KCS. I used
    	an E-bow on the fade-in. This and the others were recorded on a
    	Tascam 246 4-track.
    
    FWIW, "Boingers" and "Curious Goods" are copyright Tom Benson.
    My trombone solo is public domain.
    
    

			    "Roadhouse"

A while ago a buddy of mine bought a four-track and asked me to come over and
help him figure out how to use it.  I "wrote" something for us to jam on.  Not
being much of a guitarist and less of a writer, I just stole a whole bunch of
blues/rock cliches (which most of you will probably recognize).  In other
words, I followed a grand old tradition.  Much later, I decided to do a version
of it on my lonesome and here it is.  One of these days I'll do something with
a real ending instead of a fade-out on a solo.
    
    
    							Brian

    "I'll Love You Forever" - Daryl Gleason/Dave Blickstein

    This song is a collaboration with Daryl Gleason and Daryl Gleason

    Daryl wrote the song, and we recorded it together.

    		Vocals:  Daryl and Kristy Gleason
    		Guitars: Dave Blickstein
    		Bass:	 Daryl Gleason
    		Keyboards: mostly Dave 
    		Drum Programming: Daryl and Dave

    This was our first foray into recording and MIDI and, I think it
    shows.  I think it's a good song in need of much better production.
    But it's one of the few things I've done with much guitar on it
    and so, this being GUITARNOTES...  I included it.

    The rhythm guitars were a Ernie Ball Steve Morse model played through
    a Roland JC-120.  The lead was a Carvin DC-200 Koa going through
    a Mesa Boogie Mark IIB.  We used a Shure SM-57 to mic both amps.

	The Low Calorie Blues

	Submitted by:           Dave Blickstein
	Lyrics and Melody by:   Peigi Cleminshaw
	Producer:               Dave Blickstein
	Arrangement:            Dave Blickstein

I performed or sequenced all the instruments and Peigi sang the vocals.

The tune is a parody tune about the trials and tribulations of dieting.
Anyone who's gone through it will probably hear familiar things in the
lyrics.  

Peigi would probably want me to mention that when she recorded it she had
bronchitis.  We had endless debates about whether or not to re-record the
vocals.  The take we did had some minor performance errors (it was supposed to
be a throwawy reference track that we'd rerecord when her condition cleared up)
but I *LOVED* the performance and I thought the bronchitis added a sort a bit
of whiskey-type gravel to her voice.  We did a few more takes after she got rid
of the bronchitis - takes she probably would have preferred that I use, but
I really preferred to "bronchitus" take and that's what you're hearing.

There are three live tracks recorded with a 4-track: acoustic guitar,
electric guitar and vocals.  The remaining track was for tape-sync.

The sequenced stuff is drums and snaps (HR-16), organ (SQ-80), bass (SQ-80),
and a horn section (Roland sampler).

I used the sequencer on the SQ-80.  Basically I use it as real-time MIDI
recorder.  Only thing I quantized was the bass drum and snare.

>         -< The Low Calorie Blues - Dave Blickstein/Peigi Cleminshaw >-
>
>Peigi would probably want me to mention that when she recorded it she had
>bronchitis.  We had endless debates about whether or not to re-record the
>vocals.  


You made the right choice! May every blues singer be so afflicted!

'If I shoot nutra-sweet(tm), will I be Petite...'

Chips to yo hips,
Rick

    In the VOL III Review note, Greg House writes:
    
    >"Stay With Me Tonight" - Bill Buckley
    >
    >The overall sound of this track kind of makes me think of a cross
    >between Bon Jovi (verse) and TNT (chorus).  The singer's great, but 
    >the drums (machine?) sound mechanical and not terribly creative.  
    
    Jusy FYI...it's a real drummer (for all the tunes, fwiw) on there,
    but for one, we played that track to a click, and for a second, 
    as previously noted, we were ripping off the Michael Jackson drum beat
    for Billy Jean, which was so popular at the time of that recording,
    and I believe Michael Jackson used a drum machine (??), or whatever,
    hence the "lack of creativity" or whatever...  Our intention for the
    groove of this song was to keep it straight ahead and driving, in an
    8th note thing.
    
    FYI...I'm currently in pre-production to re-record this song in a 
    24tk studio.  The mix, and the groove esp. will be totally different.
    Maybe I'll throw it on Vol IV, if it's done, just for comparison?!
     

>    FYI...I'm currently in pre-production to re-record this song in a 
>    24tk studio.  The mix, and the groove esp. will be totally different.
>    Maybe I'll throw it on Vol IV, if it's done, just for comparison?!
 
    That would be cool!