I ranted about songs that sound wonderful when the lyrics were in fact very dark and filled with pain.
There are so many facets to every gem; this is relevant because the band wants to add some tunes.
Touch of background - the drummers are 21 each, the bass player is 47 and I am the elder statesman at 54.
Here are the songs to be added:
Magnolia - The Hush Sound
I and Love and You - The Avett Brothers
How Do You Like Me Now - The Heavy
Pulling Mussels From a Shell - Squeeze
Django's Blues - Django Reinhardt
An interesting mix. The songs are suggested and I listen to them. However, I have learned to pause before hitting 'reply.'
The entire list of songs is over represented by failure and bad karma. I mean that one of two ways - literally - oh yeah, some of these choices are awkward and not my type at all - pieces that are not well done for one reason or another. The other way is the meaning of the song. Dark and painful to hear.
And yet - all these tunes have a redeeming factor...somehow compelling.
In both 'Magnolias' and 'I and Love and You' the theme is is looking for sanctuary after a bad turn.
Magnolia's lyrics do not fit the meter of the song. The production of the song is a typical rock ballad, well done musically. The way the vocals are expressed it sounds plausible. An examination of the lyrics is quick to show you how the lines rely on shoe-horning a couple of syllables in, using a lilting sort of stumble. It is one hundred percent intentional. But it sounds like a goofy, nerdy plea for attention. In other words, a good song for us to play.
The Avett Brothers are good. They have a nice act that at times makes you think of other harmonizing brother based bands and yet...
The song 'I and Love and You,' is written over a Civil War tune. (I believe the brothers are from North Carolina)
I would guess that was not intentional as much as it was natural for true "country" musicians.
They employ violin and banjo, guitar and piano. Drums are rare to be noticed, more like ornaments.
Their song is a Dear Jane with the hope of redemption awaiting on the other side. Both dark and light at the same time.
Okay - I buy these two ballads.
The tune from The Heavy - 'How Do You Like Me Now,' is the story of a man who has been dumped and found himself a new friend and asks the question, "How Do You Like Me Now..." the smirk dripping from his face.
"Why are we doing this?," I asked.
"It's a good dance tune...lots of dirty rubbing stuff."
"Dude?"
I'm kind of lost. I do have to allow others to have input on the song list but this is pushing it. Isn't it?
'Pulling Mussels From a Shell,' from Squeeze is a favorite of mine. A song about nothing really - just the happenings one day along a beach. What people have read into it is another story. Not an easy tune to play, this will entail a lot of work, but I am all thumbs up.
Django? You guys suggested this? Wow.
All for it. And how we pull this off is all on me. I love it.
I cave easily to 'How Do You Like Me Now.'
Multiple personality tunes.
Monday, June 21, 2010
Sunday, June 20, 2010
God, Conspiracy Theories...Happy Father's Day
I had little in the way of expectations for Father's Day.
1989 was the last time I was feted as a Father by my daughter. Perhaps she is too hip, or I am too old fashioned, but I miss the little token of affection for being there. Ah well.
Then I received a nice email that included a Father's Day remembrance. The day was improving.
I got to Characters, no one else was there. (Why am I always the first one there?)
Jerry calls, on his way. Steve shows up with his brand new amplifier. He looked like a five year old on Christmas.
Joey, the other drummer calls, he is on his way.
We set up. We warm up. The day is looking up.
'Mundo motions to me, "Jerry is not coming. His brother just got out of the hospital and he is having a BBQ, you should go." A hiccup or portend of things to come?
I explain the situation to Joey and Steve.
"So we'll jam for a bit and then head out."
Agreed.
We start to play. It sounded very reminiscent of 1971, 1972 hard rock - Grand Funk or Cactus.
Steve even looks like Mel Schacher. I was tempted to shout out, "Don Brewer!"
(A call from the guitar player on the 'Live' album)
We are in a groove. It's not my everyday cup of tea, but I am in the flow.
BZZZZZZZZZTZTZTZTZTZTTTTTTTTTTTTT
Steve has somehow managed to blow up his three day old amplifier.
Excuse me?!!
He is smiling and I am about to cry.
He sees it as a glass half full and I am lamenting what might have been. I should have seen it as what will be.
It is just frustrating.
To the rest of you, Happy Father's Day.
1989 was the last time I was feted as a Father by my daughter. Perhaps she is too hip, or I am too old fashioned, but I miss the little token of affection for being there. Ah well.
Then I received a nice email that included a Father's Day remembrance. The day was improving.
I got to Characters, no one else was there. (Why am I always the first one there?)
Jerry calls, on his way. Steve shows up with his brand new amplifier. He looked like a five year old on Christmas.
Joey, the other drummer calls, he is on his way.
We set up. We warm up. The day is looking up.
'Mundo motions to me, "Jerry is not coming. His brother just got out of the hospital and he is having a BBQ, you should go." A hiccup or portend of things to come?
I explain the situation to Joey and Steve.
"So we'll jam for a bit and then head out."
Agreed.
We start to play. It sounded very reminiscent of 1971, 1972 hard rock - Grand Funk or Cactus.
Steve even looks like Mel Schacher. I was tempted to shout out, "Don Brewer!"
(A call from the guitar player on the 'Live' album)
We are in a groove. It's not my everyday cup of tea, but I am in the flow.
BZZZZZZZZZTZTZTZTZTZTTTTTTTTTTTTT
Steve has somehow managed to blow up his three day old amplifier.
Excuse me?!!
He is smiling and I am about to cry.
He sees it as a glass half full and I am lamenting what might have been. I should have seen it as what will be.
It is just frustrating.
To the rest of you, Happy Father's Day.
Saturday, June 19, 2010
Sound Track To My Heart
Music in film or television has an enormous impact.
The Exorcist without that haunting, eerie score would have been a flop. Pea green vomit would have provoked laughter, not chills.
I got hooked on House MD one weekend when I found myself alone for an evening. And one of the integral elements is the use of music. In context, sometimes new and unknown. Sometimes classic. It heightens the pathos when applicable and lulls us when we least expect it...setting us up for that exquisite fall.
101 Pilot - You Can't Always Get What You Want - Rolling Stones
102 Paternity - One - Three Dog Night
103 Occam's Razor - Happy Birthday to You - (played by House on the piano)
104 Maternity n/a n/a
105 Damned if You Do - On Saturday Afternoons in 1963 - Rickie Lee Jones
106 The Socratic Method - Rudolph the Red-Nosed Reindeer
106 The Socratic Method - Silent Night - (played by House on the piano)
So, The Stones, Three Dog Night (The tune was actually written by Harry Nillson, who would have be 69 years old this past week) Rickie Lee Jones and two pieces Hugh Laurie got to shine on.
A nice mix.
The actual 'house' music (that which is written by the people that work on the show) is kept to a simple formula for each emotion that is needed. The drum heavy 'ticking' piece for thoughtful insight or contemplation. The folksy guitar strumming when we are being prepared for a crying moment - either happy or sad, a minor or diminished riff for sad and major for happy. And then when the show closes and the moral of the story is laid out, the use of the licensed material.
Grey's Anatomy, misses the mark completely. Well, not completely.
Just, mostly.
The music is more often than not of the in-house variety. Very little money is spent on ASCAP fees. They rely on the strumming folk guitar for far too much. And it varies very little. To their credit, they do employ an evocative background thrum.
And yet...us girls cry when we watch. The depth of writing? The soap nature of the show? The craft of the cast.
Because it is certainly NOT the music. In truth, it is all of the above.
The cast is very good, for the most part. The weekly movement of the story line is General Hospital for the 21st century.
While House MD focus on the character's Holmes like abilities and how the world revolves about him, Grey's is much more the soap. We are given a different group to focus on and bond with. You have favorites, you root for outcomes to relationships and the medical cases.
House MD has much more jargon and equipment, they are frequently in a patient's guts or taking images or some medical procedure.
Not on Grey's. It is the personal story. The interaction between that week's cast of characters.
Sadly, the poignant moment is often bereft of moving music that matches.
I can't tell you how many times I have run to lookup the name of the musician/ track when I hear something I like on House MD. I have yet to look for the author of a piece on Grey's.
Is it just that this particular show can overcome that lack of applicable music? A fluke? Or a tasteful blend of little sounds, and music and a really fine show.
Probably a little of both.
The Exorcist without that haunting, eerie score would have been a flop. Pea green vomit would have provoked laughter, not chills.
I got hooked on House MD one weekend when I found myself alone for an evening. And one of the integral elements is the use of music. In context, sometimes new and unknown. Sometimes classic. It heightens the pathos when applicable and lulls us when we least expect it...setting us up for that exquisite fall.
101 Pilot - You Can't Always Get What You Want - Rolling Stones
102 Paternity - One - Three Dog Night
103 Occam's Razor - Happy Birthday to You - (played by House on the piano)
104 Maternity n/a n/a
105 Damned if You Do - On Saturday Afternoons in 1963 - Rickie Lee Jones
106 The Socratic Method - Rudolph the Red-Nosed Reindeer
106 The Socratic Method - Silent Night - (played by House on the piano)
So, The Stones, Three Dog Night (The tune was actually written by Harry Nillson, who would have be 69 years old this past week) Rickie Lee Jones and two pieces Hugh Laurie got to shine on.
A nice mix.
The actual 'house' music (that which is written by the people that work on the show) is kept to a simple formula for each emotion that is needed. The drum heavy 'ticking' piece for thoughtful insight or contemplation. The folksy guitar strumming when we are being prepared for a crying moment - either happy or sad, a minor or diminished riff for sad and major for happy. And then when the show closes and the moral of the story is laid out, the use of the licensed material.
Grey's Anatomy, misses the mark completely. Well, not completely.
Just, mostly.
The music is more often than not of the in-house variety. Very little money is spent on ASCAP fees. They rely on the strumming folk guitar for far too much. And it varies very little. To their credit, they do employ an evocative background thrum.
And yet...us girls cry when we watch. The depth of writing? The soap nature of the show? The craft of the cast.
Because it is certainly NOT the music. In truth, it is all of the above.
The cast is very good, for the most part. The weekly movement of the story line is General Hospital for the 21st century.
While House MD focus on the character's Holmes like abilities and how the world revolves about him, Grey's is much more the soap. We are given a different group to focus on and bond with. You have favorites, you root for outcomes to relationships and the medical cases.
House MD has much more jargon and equipment, they are frequently in a patient's guts or taking images or some medical procedure.
Not on Grey's. It is the personal story. The interaction between that week's cast of characters.
Sadly, the poignant moment is often bereft of moving music that matches.
I can't tell you how many times I have run to lookup the name of the musician/ track when I hear something I like on House MD. I have yet to look for the author of a piece on Grey's.
Is it just that this particular show can overcome that lack of applicable music? A fluke? Or a tasteful blend of little sounds, and music and a really fine show.
Probably a little of both.
Sunday, June 13, 2010
Making 'It.' (Or the Seven Tiers of Music)
What separates the second tier from top shelf? How does one transition between the two?
Is it always luck and never a conscious effort?
Thirty thousand discrete, independent hits on a bands MySpace page will garner the attention of a labeled Artist & Repertoire person. So it can be done consciously.
Even at that, there are a certain number of variables that one can never control - what is popular at the moment is driven by so many factors to be a dark art.
Distribution is also very touchy, nowadays.People tend to expect to get music for free. So that must be made up at the gate. This is one factor that divides the house. People will pay a hundred or more to see powerhouse bands from the 1970s when they tour. But an act that is second or third tier plays venues that charge twenty dollars or less. Huge gap.
The town in which I grew up was forty five minutes from Manhattan. In it, there were so many talented people. One of the Four Seasons, who wrote one of their biggest hits.
Conans band leader was in the grade ahead of me throughout school. We were musical competitors as kids. Most people couldn't name him if they tried.
That is firmly second tier.
The bands I play with are third, fourth tier or worse. We play for free or for food. Or we collect between twenty and a hundred dollars per person - all for the same couple of hours work. Not being able to demand a gate is third tier.
Kids learning the craft in high school bands can occupy the fourth tier. Perpetual garage bands the fifth.
The sixth would be those that buy the equipment and dream the dream but never take another step.
The seventh is those who try but can't. For whom music is not their talent even though it is their passion.
(I met a drummer who could not keep any semblance of a beat)
Enough tongue in cheek.
How does one move up the ladder?
Utilizing technology such as MySpace or YouTube or FaceBook is a first step. The networking potential is huge.
You must comb through myriad contacts before finding someone that may be able to help you along. And for every helpful contact there are eight useless ones. At least as far as furthering your progress towards your goal.
And there is always the one or two scammers that bombard your email or send you private messages ad nauseum.
You also have the ability to contact genuine legends and pick their brains. I have many named celebrities on my friends list. I strive to not friend those pages that are manned by a public relations employee speaking of the musician in the third person.
This access was undreamed of when most of these artists were moving between tiers.
How many free shows had the Jefferson Airplane done for Bill Graham before becoming a paid, a well paid act?
Or the Grateful Dead?
Santana? The list just goes on. At some point, we discovered and elevated these local bands and made them national and then international stars.
Whereas it used to be the territory of Colonel Tom Parker, it has fallen to the bands themselves to promote and move themselves up the ladder.
I have also noticed a tendency among talent and management people to do less and expect more from the band.
I would expect a manager to act as the paid publicist and not the band members themselves.
To be accessible, yes, to have to put up the posters, no.
The little quartet I play with has a nice following that is growing, slowly. It has taken time and the work involved with new set lists - part and parcel of the game we have chosen.
Problems:
We publicize very little - everything has been word of mouth. The driving force is Jerry seems to know everybody. If we play at a fair, every one comes to say 'Hi" to Jerry. He can literally pack a house by himself.
We are not pushing through open channels. It took weeks before I got Jerry to give me a CD from which I made copies to hand out as a calling card. We don't have a MySpace page, et cetera.
Positives:
Crowd grows.
More gigs come.
The last few gigs have been paying - a good trend
We are changing the set list weekly
We are gelling as a foursome. It sounds better every time we play.
We have decided to aim for higher venues - breakout shows. As a means of moving up.
We applied for a slot at the L.A.County Fair. Opening for the Eagles is quite a feather. Even though there are six opening acts.
More To Follow...
Is it always luck and never a conscious effort?
Thirty thousand discrete, independent hits on a bands MySpace page will garner the attention of a labeled Artist & Repertoire person. So it can be done consciously.
Even at that, there are a certain number of variables that one can never control - what is popular at the moment is driven by so many factors to be a dark art.
Distribution is also very touchy, nowadays.People tend to expect to get music for free. So that must be made up at the gate. This is one factor that divides the house. People will pay a hundred or more to see powerhouse bands from the 1970s when they tour. But an act that is second or third tier plays venues that charge twenty dollars or less. Huge gap.
The town in which I grew up was forty five minutes from Manhattan. In it, there were so many talented people. One of the Four Seasons, who wrote one of their biggest hits.
Conans band leader was in the grade ahead of me throughout school. We were musical competitors as kids. Most people couldn't name him if they tried.
That is firmly second tier.
The bands I play with are third, fourth tier or worse. We play for free or for food. Or we collect between twenty and a hundred dollars per person - all for the same couple of hours work. Not being able to demand a gate is third tier.
Kids learning the craft in high school bands can occupy the fourth tier. Perpetual garage bands the fifth.
The sixth would be those that buy the equipment and dream the dream but never take another step.
The seventh is those who try but can't. For whom music is not their talent even though it is their passion.
(I met a drummer who could not keep any semblance of a beat)
Enough tongue in cheek.
How does one move up the ladder?
Utilizing technology such as MySpace or YouTube or FaceBook is a first step. The networking potential is huge.
You must comb through myriad contacts before finding someone that may be able to help you along. And for every helpful contact there are eight useless ones. At least as far as furthering your progress towards your goal.
And there is always the one or two scammers that bombard your email or send you private messages ad nauseum.
You also have the ability to contact genuine legends and pick their brains. I have many named celebrities on my friends list. I strive to not friend those pages that are manned by a public relations employee speaking of the musician in the third person.
This access was undreamed of when most of these artists were moving between tiers.
How many free shows had the Jefferson Airplane done for Bill Graham before becoming a paid, a well paid act?
Or the Grateful Dead?
Santana? The list just goes on. At some point, we discovered and elevated these local bands and made them national and then international stars.
Whereas it used to be the territory of Colonel Tom Parker, it has fallen to the bands themselves to promote and move themselves up the ladder.
I have also noticed a tendency among talent and management people to do less and expect more from the band.
I would expect a manager to act as the paid publicist and not the band members themselves.
To be accessible, yes, to have to put up the posters, no.
The little quartet I play with has a nice following that is growing, slowly. It has taken time and the work involved with new set lists - part and parcel of the game we have chosen.
Problems:
We publicize very little - everything has been word of mouth. The driving force is Jerry seems to know everybody. If we play at a fair, every one comes to say 'Hi" to Jerry. He can literally pack a house by himself.
We are not pushing through open channels. It took weeks before I got Jerry to give me a CD from which I made copies to hand out as a calling card. We don't have a MySpace page, et cetera.
Positives:
Crowd grows.
More gigs come.
The last few gigs have been paying - a good trend
We are changing the set list weekly
We are gelling as a foursome. It sounds better every time we play.
We have decided to aim for higher venues - breakout shows. As a means of moving up.
We applied for a slot at the L.A.County Fair. Opening for the Eagles is quite a feather. Even though there are six opening acts.
More To Follow...
Friday, June 11, 2010
Which Side of the Fence?
Do you attend shows with a mindset in place before you even arrive?
Have expectations...about the author, director, the band?
I strive to go completely open minded. Not an assumption to be seen. Even when I am very much aware of the material. I still try to see the performance on the merits of the day I attend.
There is a local band, Children of the Valley, that I very much like. They play a very wide selection of ballads, instrumentals, new material. They always try something new. Many times it works as planned...sometimes not.
I've yet to be disappointed. Not that everything they have done has been great, no, some things have been downright mediocre. But I applaud their sense of keeping it fresh and new. It takes a certain amount of brass to try something new. To always throw out a new thing every time you play is a) a lot of work and b) risky.
They have inspired me to try it myself, musically speaking. I intend to try new things, and try them on audiences as well.
After all, it'd be a waste to keep all the new thoughts to myself!
Jimi Hendrix lamented that fans wanted to hear his hits, no new songs...s'il vous plait.
He grew tired of playing 'Hey Joe,' every night.
Or burning his guitar.
He sought to branch out, explore the new.
Before he died he had been playing with an jazz band, replete with Chicago style organ.
Can you imagine what Jimi would have sounded like with a big band? Or a fusion group? The possibilities are endless. But I am sure he would have had to endure much sturm und drang from the audience.
Jerry, the keyboard player has been trying to introduce one or two new songs every week.
In fact, two weeks ago he brought a completely new set list - no warning, neither for us nor the audience.
He would tilt his head and give me the chord changes prior to starting the song. Half the time I was reduced to watching his left hand for the chords changes.
No one in the audience seemed to mind until they started calling for the "standards," that we had been doing for them. On the positive side we added more members to the "regular" audience.
So far, I don't mind playing and replaying songs that we do every week.
Have expectations...about the author, director, the band?
I strive to go completely open minded. Not an assumption to be seen. Even when I am very much aware of the material. I still try to see the performance on the merits of the day I attend.
There is a local band, Children of the Valley, that I very much like. They play a very wide selection of ballads, instrumentals, new material. They always try something new. Many times it works as planned...sometimes not.
I've yet to be disappointed. Not that everything they have done has been great, no, some things have been downright mediocre. But I applaud their sense of keeping it fresh and new. It takes a certain amount of brass to try something new. To always throw out a new thing every time you play is a) a lot of work and b) risky.
They have inspired me to try it myself, musically speaking. I intend to try new things, and try them on audiences as well.
After all, it'd be a waste to keep all the new thoughts to myself!
Jimi Hendrix lamented that fans wanted to hear his hits, no new songs...s'il vous plait.
He grew tired of playing 'Hey Joe,' every night.
Or burning his guitar.
He sought to branch out, explore the new.
Before he died he had been playing with an jazz band, replete with Chicago style organ.
Can you imagine what Jimi would have sounded like with a big band? Or a fusion group? The possibilities are endless. But I am sure he would have had to endure much sturm und drang from the audience.
Jerry, the keyboard player has been trying to introduce one or two new songs every week.
In fact, two weeks ago he brought a completely new set list - no warning, neither for us nor the audience.
He would tilt his head and give me the chord changes prior to starting the song. Half the time I was reduced to watching his left hand for the chords changes.
No one in the audience seemed to mind until they started calling for the "standards," that we had been doing for them. On the positive side we added more members to the "regular" audience.
So far, I don't mind playing and replaying songs that we do every week.
Sunday, June 6, 2010
Gretsch G5122
It seems I buy my guitars based upon whom I see using a particular guitar line. Although not necessarily the same model. I would guess this to be true for most guitarists.
(I wonder if it holds true for brass players? Is there personality in a metal horn? Has to be.)
I watched Carlos Santana and Jerry Garcia playing SGs at Woodstock. Had to have one.
(2007 Faded)
I saw Jimi Hendrix playing a Stratocaster at Woodstock. Had to have one.
(2008 Squier)
George Harrison playing a huge Gretsch. Had to have one.
(2010 G5122)
Being a hollowbody, it is louder than any of my other guitars.
The pickups are that clear, articulate sound you heard on 'Ticket To Ride.'
Mostly maple in construction. Very lightweight. Rosewood fretboard, Bigsby tail. A floating rosewood mounted bridge. The going against the grain Gretsch controls - two volume, one tone and a master volume that people to use as a kill switch. And those famous side fret markers. Strap locks are de rigueur. The machines, however, are open affairs? I haven't seen open tuners since my Guitar Johnny axe.
Being an offshore import they are relatively inexpensive. This model is tagged at $700.
"Lou, make me a deal."
Lou (little Lou) of Styles Music, Pomona offered the guitar, bag ($40) and stand ($23) for $730...out the door.
Normal tithing to the state would have added an additional $70.
(I saved $133, although the amount of creative work it took for Lou to do this deserves kudos in their own right)
What a glassy tone! I almost wish I had a mop of hair to shake as I play. And so LOUD! I had to cut the volume that I normally set at six or seven to four. Feedback! I get chills. I don't mean Jimi-blast-your-ears feedback. I mean sweet sustain without any OD. Throw on the OD and it quickly gets to be too much. This is not a semi hollowbody, this is an acoustic guitar with pickups. The tone rolls off very quickly - I will look into modding that A.S.A.P. - however, working on hollowbodies is a very arduous task. I may just pay for Andy to set it up and change the capacitors.Although I like the Bigsby vibrato, there is a "lock," a notch, really, that won't allow the arm to swing around completely. The best you can do is hold the arm parallel to the strings - whereas I like to hold the arm over the strings. Small hands being what they are.
The top is three piece laminate with a maple veneer. The back is two pieces - they can use fewer pieces because the back is flatter than the carved top. It has binding on the body and the neck. Thick binding.
I had been looking for an acoustic. I think I may have smitten two birds with the one stone.
(I wonder if it holds true for brass players? Is there personality in a metal horn? Has to be.)
I watched Carlos Santana and Jerry Garcia playing SGs at Woodstock. Had to have one.
(2007 Faded)
I saw Jimi Hendrix playing a Stratocaster at Woodstock. Had to have one.
(2008 Squier)
George Harrison playing a huge Gretsch. Had to have one.
(2010 G5122)
Being a hollowbody, it is louder than any of my other guitars.
The pickups are that clear, articulate sound you heard on 'Ticket To Ride.'
Mostly maple in construction. Very lightweight. Rosewood fretboard, Bigsby tail. A floating rosewood mounted bridge. The going against the grain Gretsch controls - two volume, one tone and a master volume that people to use as a kill switch. And those famous side fret markers. Strap locks are de rigueur. The machines, however, are open affairs? I haven't seen open tuners since my Guitar Johnny axe.
Being an offshore import they are relatively inexpensive. This model is tagged at $700.
"Lou, make me a deal."
Lou (little Lou) of Styles Music, Pomona offered the guitar, bag ($40) and stand ($23) for $730...out the door.
Normal tithing to the state would have added an additional $70.
(I saved $133, although the amount of creative work it took for Lou to do this deserves kudos in their own right)
What a glassy tone! I almost wish I had a mop of hair to shake as I play. And so LOUD! I had to cut the volume that I normally set at six or seven to four. Feedback! I get chills. I don't mean Jimi-blast-your-ears feedback. I mean sweet sustain without any OD. Throw on the OD and it quickly gets to be too much. This is not a semi hollowbody, this is an acoustic guitar with pickups. The tone rolls off very quickly - I will look into modding that A.S.A.P. - however, working on hollowbodies is a very arduous task. I may just pay for Andy to set it up and change the capacitors.Although I like the Bigsby vibrato, there is a "lock," a notch, really, that won't allow the arm to swing around completely. The best you can do is hold the arm parallel to the strings - whereas I like to hold the arm over the strings. Small hands being what they are.
The top is three piece laminate with a maple veneer. The back is two pieces - they can use fewer pieces because the back is flatter than the carved top. It has binding on the body and the neck. Thick binding.
I had been looking for an acoustic. I think I may have smitten two birds with the one stone.
I read my horoscope for 06/06/2010...and fell over.
GEMINI (May 21-June 21). You have been denying yourself something you want. At this point, it's driving you a little crazy. Consider giving in — maybe even indulging yourself to such a degree that you finally get over this need once and for all.
Thank you Holiday Mathis!
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