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Acoustic Guitar Instrumental
You Can Have Any Woman You Want
It is not really surprising that a lot of men out there don’t know how to get a woman drooling over them. It appears to be the most complicated problem of the century and more and more men find themselves unable to handle women of the present age. But my news to you is that you can be excellent with women if you try out a few things I am going to spell out here.
Most of your failures with women are attributed to being scared of interacting with women. To get rid of this fear you should see to it that you talk to as many women as possible. Whenever you see a woman you like talk to her. By doing this you will boost your confidence and increase your chances of meeting the woman of your dreams.
Nevertheless, there is a deep voice that will emerge from inside you like the chords from an ibanez acoustic guitar. This is the voice that will tell you all the bad things that can happen if you talk to a woman. You must learn to shut that voice out and just talk to women. By doing this you will help yourself to get rid of your fear of talking to women.
Jewelry pendants are not the pathway to a woman’s heart. Instead what will work best is touching her. I don’t mean the freaky and awkward sort of touching that is a surprise to a woman who is not used to it. Attraction for women is triggered by touching her whenever you have the chance to. This way she won’t be too surprised when you lean in for the first kiss.
Confidence tells a woman that you are a good candidate for a relationship. Make sure you don’t show a woman that you are scared or insecure by putting your hands in your pockets and by standing with your legs crossed behind you. Stand with your legs apart from one another; look at her deep in the eyes and make sure you don’t reach into your pockets whilst talking to a woman.
Spontaneous men are those that do things at the spur of the moment. Nothing is ever written down and preplanned with a man of surprises. This aspect of your new personality will give you leverage over men who are predictable. If a woman you like agrees to go on a date with you make sure you don’t reveal all the details of your date. Just take her anywhere without telling her and she will find this to be a mysterious aspect of your character.
One mistake men make is of trying to please a woman too much. If there is anything she says or wants don’t rush to agree or to accept because she will immediately see you as a pushover. The fact that most men do this gives you an advantage because turning a woman down will quickly leave a mark on her because it’s not a lot of men who do so. If she wants alpine skiing equipment and you can’t afford it just tell her she can’t have it.
Acoustic Guitar Instrumental
Acoustic Guitar Instrumental
Choose your sound Guitar: A Review Of The Best sound Guitars For Beginners
There are some important things you need to consider when buying a beginner guitar sound.
You think you have a financial situation that allows you to afford a high quality guitar for your first guitar? If you think you can do it then you should definitely go for it. Very often, the tone of the guitar has seen its costs. With a good beginner guitar should also be easy to play.
The Seagull S6 is undoubtedly one of the best options on high-end, and it's going to cost you about $ 400 – $ 500. Although it is a bit expensive for some beginners, it is still a unique instrument for the price. Many professionals will keep their the Seagull S6 long after they piled up a huge collection of other guitars. A consistent good beginner guitar sound higher price end of the scale is the Washburn D10S. It was voted # 1 in sound Guitar magazine for guitars under $ 500. A good number of people looking at price range as either the crane or the Washburn.
A more affordable range, you can find the Yamaha F310, Takamine G-FenderDG7 and 240. If you are looking for at least sounds expensive beginner guitar, the Epiphone DR-100 is a good choice. Despite being a beginner instrument, the Epiphone DR-100 is very good value for your money and remains One of the best beginner guitars sound.
You should avoid buying very cheap guitars you see at the local discount store as they are difficult to play, even for experienced guitar players. Their cheap quality means that there is often a lot of space between the strings and the neck, which entails an overly high-action. It can be very annoying for a beginner.
Must be less than $ 100 to spend, your best option is to buy a second-hand guitar. The interesting thing is that second-hand guitars can also have their own personalities. If you see two Takamine G-240 in a store, just try both of them. You need to have a "feel" for your guitar to make the right choice.
People often see guitars as a person. You have to care for your guitar like you care for your own children. If for any reason you are not "feeling" your guitar, select another one.
The last thing you should consider is that you should always ask the salesperson to store the music you want to play guitar purchase. A good salesperson will always help you choose the right guitar in the best possible way.
About the Author
Find out tips to learn how to play acoustic guitar easily and start learning with video lessons now!
What is harder to play the Spanish guitar sound manner, or instrumental blues?
Just wondering what you think takes more skill to play on technicalities spanish blues sounds or instrumental instumental?
Spanish, beyond doubt. This is music in classical style. Think Christopher Parkening Andres Segovia or vs BB King. Yes, there are bues Great guitarists like Eric Clapton, or Stevie Ray Vaughn, but you can get through the blues with far less skill. Listen to the first great blues guitarist, Robert Johnson, and the first great classical guitarist, Andres Segovia, and decide to be easier to emulate.
500 Miles – acoustic guitar instrumental
Below are some cheap but quality products related to Acoustic Guitar Instrumental. We are pretty sure you will find good deals with the products below relating to Acoustic Guitar Instrumental. Enjoy!
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Acoustic Masterclass Series: Contemporary Instrumental Guitar - $24.99 The Acoustic Masterclass Series from Solid Air Records features some of the world’s most renowned guitarists sharing their craft with aspiring musicians. This entry in the series, Acoustic Masterclass Series: Contemporary Instrumental Guitar, stars acclaimed guitarist Doug Smith detailing the techniques necessary to master the idiosyncrasies of the songs “Crest of the Revolution,” “Order of Magnitude,” “Out of the Darkness,” “Renewal,” “Sunday Sonata,” and “The Tempest.” Other titles in the series include Acoustic Masterclass Series: Guitar Blues and Acoustic Masterclass Series: The Guitarist. ~ Matthew Tobey, Rovi |
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Martin 0-28Vs Acoustic Guitar $3599 Martin 0-28VS Acoustic Guitar |
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Martin 00-28Vs Acoustic Guitar $3599 Martin 00-28VS Acoustic Guitar |
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Martin D-18V Acoustic Guitar $2499.99 Martin D-18V Acoustic Guitar |
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Takamine G440c Acoustic Guitar $249 Takamine G440C Acoustic Guitar |
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Martin 000-28 Acoustic Guitar $2087.99 Martin 000-28 Acoustic Guitar |
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Martin Hd-35 Acoustic Guitar $2435.13 Martin HD-35 Acoustic Guitar |
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Martin 000-18 Acoustic Guitar $1826.99 Martin 000-18 Acoustic Guitar |
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Hagstrom D15 Acoustic Guitar $279.99 Hagstrom D15 Acoustic Guitar |
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Acoustic Masterclass $24.95 (Doug Smith — Contemporary Instrumental Guitar). By Doug Smith. For Guitar. This edition: Guitar TAB. Guitar Method or Supplement; Guitar TAB; Method/Instruction. Acoustic Masterclass. Acoustic. Book & CD. Published by Alfred Music Publishing |
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Acoustic Ag120s Acoustic Guitar Combo Amp Black $499.99 Acoustic AG120S Acoustic Guitar Combo Amp Black |
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Used Asbury Acoustic Guitar $99.99 In Store Used USED ASBURY ACOUSTIC GUITAR |
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Used Squier Acoustic Guitar $99.99 In Store Used USED SQUIER ACOUSTIC GUITAR |
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Used Montaya Acoustic Guitar $199.99 In Store Used USED MONTAYA ACOUSTIC GUITAR |
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Used Truetone Acoustic Guitar $89.99 In Store Used USED TRUETONE ACOUSTIC GUITAR |
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Takamine Gs330s Acoustic Guitar Natural $299 Takamine GS330S Acoustic Guitar Natural |
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Martin D15m Dreadnought Acoustic Guitar $1149 Martin D15M Dreadnought Acoustic Guitar |
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Cordoba 45R Acoustic Guitar With Humicase $899.99 Cordoba 45R Acoustic Guitar with Humicase |
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Takamine Tsf48c Acoustic Electric Guitar $1999 Takamine TSF48C Acoustic Electric Guitar |
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Martin D-16Gt Dreadnought Acoustic Guitar $1049.99 Martin D-16GT Dreadnought Acoustic Guitar |
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Martin Dreadnought Acoustic Guitar Natural $2199 Martin Dreadnought Acoustic Guitar Natural |
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Martin Dxme Acoustic-Electric Guitar $599 Martin DXME Acoustic-Electric Guitar |
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Takamine Eg341c Acoustic-Electric Guitar $359 Takamine EG341C Acoustic-Electric Guitar |
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Alfred Greatest Acoustic Rock Guitar $24.95 Alfred Greatest Acoustic Rock Guitar |
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Fender Acoustic Guitar Folding Stand $16.99 Fender Acoustic Guitar Folding Stand |
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Planet Waves Acoustic Guitar Humidifier $13.99 Planet Waves Acoustic Guitar Humidifier |
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Hal Leonard Tipbook For Acoustic Guitar $13.46 Hal Leonard TIPBOOK FOR ACOUSTIC GUITAR |
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Fender Cd100 Acoustic Guitar Natural $199.99 Fender CD100 Acoustic Guitar Natural |
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Epiphone Aj-220S Acoustic Guitar Natural $199 Epiphone AJ-220S Acoustic Guitar Natural |
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Yamaha F335 Acoustic Guitar Natural $149.99 Yamaha F335 Acoustic Guitar Natural |
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Yamaha F335 Acoustic Guitar Black $149.99 Yamaha F335 Acoustic Guitar Black |
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Dean Acoustic Guitar Hardshell Case $79.99 Dean Acoustic Guitar Hardshell Case |
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Martin Dc-16Ogte Acoustic-Electric Guitar $1435.49 Martin DC-16OGTE Acoustic-Electric Guitar |
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Martin D-45 Dreadnought Acoustic Guitar $7499.99 Martin D-45 Dreadnought Acoustic Guitar |
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Takamine Gb-7C Acoustic-Electric Guitar $1529 Takamine GB-7C Acoustic-Electric Guitar |
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Skb 000-Sized Acoustic Guitar Case $139.99 SKB 000-Sized Acoustic Guitar Case |
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Martin Om-42 Acoustic Guitar Natural $4899.99 Martin OM-42 Acoustic Guitar Natural |
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Fender Cd140s Acoustic Guitar Natural $199.99 Fender CD140S Acoustic Guitar Natural |
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Martin D-42 Dreadnought Acoustic Guitar $4899.99 Martin D-42 Dreadnought Acoustic Guitar |
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Epiphone Dr-100 Acoustic Guitar Natural $129.99 Epiphone DR-100 Acoustic Guitar Natural |
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Fishman Saddle Acoustic Guitar Pickup $89.95 Fishman Saddle Acoustic Guitar Pickup |
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Taylor 714Ce-Sd Acoustic-Electric Guitar $2799.99 Taylor 714ce-SD Acoustic-Electric Guitar |
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Martin Omc-16Ogte Acoustic-Electric Guitar $1649.99 Martin OMC-16OGTE Acoustic-Electric Guitar |
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Rogue Rd80 Dreadnought Acoustic Guitar $79.99 Rogue RD80 Dreadnought Acoustic Guitar |
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Martin Simpson: Acoustic Guitar Instrumentals [VHS] $77.73 Complete three-tape series…. |
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Acoustic Guitar Instrumentals Vol 2- Creating Your Own Arrangements [VHS] $8.00 Martin continues his excellent analysis of the romantic and compelling guitar arrangements for which he is justly famous. He covers Jock O’Hazeldine, a Celtic air; Banks Of The Bann with the primary melody in the bass; and a Christmas carol, In The Bleak Mid-Winter, all in dropped-D tuning. 60-MINUTE VIDEO * INCLUDES MUSIC + TAB * LEVEL 3…. |
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Acoustic Guitar Instrumentals Vol 3- Developing Style and Repertoire [VHS] $8.00 Martin teaches Donal Ogg and My Generous Lover, both in “Gsus. 4″ tuning, then Betsy The Serving Maid. The Coo Coo Bird, in “mountain minor” banjo tuning, is guaranteed to keep you busy for months. Martin uses Miss McLeod’s Reel to illustrate DADGAD tuning…. |
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DVD-Arrangements For Solo Acoustic Guitar #2 $19.96 Pete Huttlinger’s championship picking style is making him a powerful force in the acoustic guitar world. An engaging and accomplished instructor, he brings his spectacular playing to learning fingerstyle players with dramatic performance pieces that are… |
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How to Play Airtap by Erik Mongrain $4.99 … |
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Doug Smith – Contemporary Instrumental Guitar $18.26 DOUG SMITH:CONTEMP INSTRUMENTAL GUIT – DVD Movie… |
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Shure SM57-LC Cardioid Dynamic Microphone $146.00 The Shure SM57 is a fixture in the music business. You see it everywhere. In small clubs and 100,000 seat stadiums. This renowned mic is used by legendary performers and the latest up-and-comers. What you may not have seen are the thousands of SM57s at work behind the scenes in professional recording studios around the world. In fact, you’ll probably find it in more studios than any other mic. Not… |
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Behringer ECM8000 Condenser Ultra-Linear Measurement Condenser Microphone $54.99 To get the best sound in any room, you must first understand the room’s acoustics. The ECM8000 is a specialized condenser microphone designed for use with real-time analyzers, such as our ULTRACURVE DEQ2496, to provide an accurate acoustic picture of the room. You can then use your graphic EQ to fine-tune your system’s performance to perfectly match the characteristics of any acoustic environment…. |
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Samson CO1U USB Condenser Microphone $234.99 The C01U USB Studio Condenser Mic is the first affordable studio condenser mic with a USB interface. For the first time ever, musicians who record music on computers have a simple, affordable way to capture high-quality vocal and acoustic instrument performances. Seamless integration was the idea, and it was obtained by creating a studio condenser microphone that can be plugged into any computer… |
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Music for the Motion Picture Into the Wild $7.18 Taking a break from his day job fronting rock heavyweight Pearl Jam, Eddie Vedder immerses himself into the big-screen story of a young man who gives all his money to charity and hitchhikes to a new life–and his eventual death–in the wilds of Alaska. Prompted by the film’s creator, Sean Penn, to contribute to the musical score, the Seattle musician tackled the entire project, playing every instr… |
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1769ADII Al DiMeola Custom Legend Acoustic Electric Guitar (Natural) $2829 Al Di Meola holds the most prestigious guitar awards (of any guitarist in the world) from the highest rated guitar poll in the world, Guitar Player Magazine. He has been known throughout the world for the past two and a half decades as one of the most prominent virtuosos in the contemporary instrumental jazz field. The 1769AD sports a 5-piece mahogany and maple neck that’s contoured to a “soft-V”, the most ergonomic of neck shapes. The bound ebony fingerboard is decorated with abalone inlays and fitted with nickel silver frets. Each of the frets is crowned, dressed and polished by hand, then the fingerboard and neck are finished with Danish oil. Equipped with the OP-Pro preamp system, developed to work specifically with the unique Ovation Patented Pickup. Case not included. |
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31 Fiddle Favorites $9.99 These 31 fiddle tunes and breakdowns were recorded during an all-night session in the mid-’60s with an all-acoustic combo of dobro, guitar, bass, and Fiddlin’ Mutt Poston’s fiddle. Mixing traditional fiddle tunes and folk songs with an occasional Western swing number (“Take Me Back to Tulsa”) or Tin Pan Alley favorite (“Alabama Jubilee”), Poston’s nimble sawing and sturdy accompaniment make for a solid showcase that is sure to please enthusiasts of country fiddlin’ and old-timey instrumental music. ~ Greg Adams, Rovi |
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3D $17.98 When one first glances at the cover of Casey Driessen’s 3D, it’s difficult to know what to expect. Driessen’s red hair is brushed back, and he’s wearing these funky 3D glasses with a “3″ on one lens and a “D” on the other. From this info, one might be prepared for spacey electronic music or perhaps a surrealistic singer/songwriter. But the final clue at the bottom on the cover photo is the head of a fiddle, Driessen’s instrument of choice, which may or may not lead one to guess 3D’s dominant musical style: progressive instrumental Celtic music. Listeners have probably never heard “Sally in the Garden” arranged with drums, programming, and an electric sruti box, though the addition of Jerry Douglas’ dobro, Tim O’Brien’s bouzouki, and Driessen’s fiddle add stable elements. It’s as though the players started with a fairly traditional base of acoustic instruments and then inserted percussion, progressive material, and the occasional electronic element to spice things up. Even on more conservative — instrumentally speaking — tunes like Driessen’s “The Confusion Before Dreams” proves quite compelling, and the vocal numbers, often a distraction on primarily instrumental albums, are fun. There’s a funky take on “Sugarfoot Rag” with Driessen’s ultra-cool vocal and Darrell Scott spunky guitar work. While a number of semi-progressive musicians like O’Brien have gotten lots of credit for pushing bluegrass and Celtic in new directions, the results (as with O’Brien’s dual release in 2005) seem rather tepid compared to 3D. This is fun music that will probably offend a few traditionalists while letting everyone else know that the old music can grow in exciting and unpredictable ways. ~ Ronnie D. Lankford, Jr., Rovi |
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A Guitar for Elvis $11.92 Used – The CD A Guitar for Elvis is a completely fresh tribute to The King by such renowned guitarists as Laurence Juber, Al Petteway, Kenny Sultan, Elliot Easton and many others. Our folio features transcriptions of these rootsy, bluesy, folky and even experimental instrumental acoustic guitar versions of 14 Elvis hits: All Shook Up * Can’t Help Falling in Love * Don’t Be Cruel (To a Heart That’s True) * Hound Dog * Jailhouse Rock * Love Me Tender * Mystery Train * Suspicious Minds * and more! |
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A Guitar for Elvis $11.96 Used – The CD A Guitar for Elvis is a completely fresh tribute to The King by such renowned guitarists as Laurence Juber, Al Petteway, Kenny Sultan, Elliot Easton and many others. Our folio features transcriptions of these rootsy, bluesy, folky and even experimental instrumental acoustic guitar versions of 14 Elvis hits: All Shook Up * Can’t Help Falling in Love * Don’t Be Cruel (To a Heart That’s True) * Hound Dog * Jailhouse Rock * Love Me Tender * Mystery Train * Suspicious Minds * and more! |
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A Guitar for Elvis $11.97 New – The CD A Guitar for Elvis is a completely fresh tribute to The King by such renowned guitarists as Laurence Juber, Al Petteway, Kenny Sultan, Elliot Easton and many others. Our folio features transcriptions of these rootsy, bluesy, folky and even experimental instrumental acoustic guitar versions of 14 Elvis hits: All Shook Up * Can’t Help Falling in Love * Don’t Be Cruel (To a Heart That’s True) * Hound Dog * Jailhouse Rock * Love Me Tender * Mystery Train * Suspicious Minds * and more! |
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A Guitar for Elvis $11.96 New – The CD A Guitar for Elvis is a completely fresh tribute to The King by such renowned guitarists as Laurence Juber, Al Petteway, Kenny Sultan, Elliot Easton and many others. Our folio features transcriptions of these rootsy, bluesy, folky and even experimental instrumental acoustic guitar versions of 14 Elvis hits: All Shook Up * Can’t Help Falling in Love * Don’t Be Cruel (To a Heart That’s True) * Hound Dog * Jailhouse Rock * Love Me Tender * Mystery Train * Suspicious Minds * and more! |
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A Guitar for Elvis? (TAB) $16.14 The CD A Guitar for Elvis is a completely fresh tribute to The King by such renowned guitarists as Laurence Juber, Al Petteway, Kenny Sultan, Elliot Easton and many others. Our folio features transcriptions of these rootsy, bluesy, folky and even experimental instrumental acoustic guitar versions of 14 Elvis hits: All Shook Up Can't Help Falling in Love Don't Be Cruel (To a Heart That's True) Hound Dog Jailhouse Rock Love Me Tender Mystery Train Suspicious Minds and more! |
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A Raining Sun of Light and Love $16.98 Brooklyn-based, semi-instrumental quartet Titan have been unleashing their unholy blend of neo-psychedelic rock and progressive stoner metal on homemade EPs (CD-R basement freakouts) for some time now, so the arrival of a full-length studio album is a cause for celebration. Like Boris, Comets on Fire, and Blue Cheer, Titan don’t concern themselves with genre boundaries. Heavily improvised cacophony can often become the audio equivalent of a traffic jam, but in the right hands it can transcend the endless line of cars and take the listener home by unforeseen paths. A Raining Sun of Light and Love achieves this through the twisted hands and minds of its creators (these guys can actually play), and once you get past the Comus-inspired acoustic intro that’s oddly reminiscent of Ween’s “Squelch the Weasel,” the 45 minutes that follow traverse the annals of rock history like a roller coaster car with a grenade in it. Fat ELP organ runs explode into heavy Sabbath riffing while Rush-inspired time signatures signal the arrival of “Careful with That Axe Eugene”-era Pink Floyd. Feedback washes over Tuvan throat singing, roadside noise morphs into crickets, and bluesy slide guitar and wall upon wall of distortion fall on each of the four tracks like a monsoon, signaling the arrival of one of the most promising metal acts of 2007. ~ James Christopher Monger, Rovi |
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A Raining Sun of Light and Love $15.98 Brooklyn-based, semi-instrumental quartet Titan have been unleashing their unholy blend of neo-psychedelic rock and progressive stoner metal on homemade EPs (CD-R basement freakouts) for some time now, so the arrival of a full-length studio album is a cause for celebration. Like Boris, Comets on Fire, and Blue Cheer, Titan don’t concern themselves with genre boundaries. Heavily improvised cacophony can often become the audio equivalent of a traffic jam, but in the right hands it can transcend the endless line of cars and take the listener home by unforeseen paths. A Raining Sun of Light and Love achieves this through the twisted hands and minds of its creators (these guys can actually play), and once you get past the Comus-inspired acoustic intro that’s oddly reminiscent of Ween’s “Squelch the Weasel,” the 45 minutes that follow traverse the annals of rock history like a roller coaster car with a grenade in it. Fat ELP organ runs explode into heavy Sabbath riffing while Rush-inspired time signatures signal the arrival of “Careful with That Axe Eugene”-era Pink Floyd. Feedback washes over Tuvan throat singing, roadside noise morphs into crickets, and bluesy slide guitar and wall upon wall of distortion fall on each of the four tracks like a monsoon, signaling the arrival of one of the most promising metal acts of 2007. ~ James Christopher Monger, Rovi |
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A Shepherd’s Tale: Accompaniment/Performance $59.75 New – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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A Shepherd’s Tale: Accompaniment/Performance $87.95 New – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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A Shepherd’s Tale: Choral Score, Choral Score $19.95 Used – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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A Shepherd’s Tale: Choral Score, Choral Score $16.86 Used – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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A Shepherd’s Tale: Choral Score, Choral Score $19.95 Used – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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A Shepherd’s Tale: Choral Score, Choral Score $16.97 Used – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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A Shepherd’s Tale: Choral Score, Choral Score $20.73 New – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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A Shepherd’s Tale: Choral Score, Choral Score $16.9 Used – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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A Shepherd’s Tale: Choral Score, Choral Score $25.95 New – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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A Shepherd’s Tale: Preview Pack, Choral Score & CD $34.95 New – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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A Shepherd’s Tale: Preview Pack, Choral Score & CD $26.4 New – Approximately 30 minutes long, this cantata is ideal for incorporation into the regular worship service. You can lengthen the program by adding instrumental solos, congregational hymns, costumes and simple staging. The optional orchestration is simple to prepare and perform, and it appears right in the Choral Score (individual instrumental parts available separately). Perform with any or all of the instruments: flute, 2 trumpets, acoustic guitar, percussion and handbells-the handbell part |
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AC300NT Artwood Acoustic Guitar $299.99 The Ibanez AC300NT Artwood Acoustic Guitar is a perfect combination of tradition and modern design. The lush tones originate from a solid Engelmann Spruce top along with mahogany back and sides and shaped into an Orchestral body style; which was designed to project and be audible over large instrumental ensembles in the days before amplification. The AC300NT also features a Dovetail Neck Joint at the 14th fret to maximize resonance and produce a warm tone. The Grand Concert body is paired with a wider, 44.5mm neck and shorter 24.9" scale length. The slightly shorter scale facilitates easier playability. The Ibanez AC300ECENT is an extremely versatile guitar that is perfect for home use or the stage. Case not included.The Ibanez AC300NT Acoustic Guitar is a perfect choice for players who are looking for a versatile, beautiful instrument at a price that is easily within reach. Order yours from Sam Ash Direct today with the security of our 45/60 day return/price protection policy and be sure to take advantage of our fast, free shipping. |
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Acoustic Guitar: [Book 1] $46.34 New – Since it first appeared in the 1930s, the concise, clear content of the best-selling “A Tune A Day” series has revolutionised music-making in the classroom and the home. C Paul Herfurth’s original books have been completely rewritten with new music and the latest in instrumental technique for a new generation of musicians. The series has the same logical, gentle pace and keen attention to detail, but with a host of innovations! The DVD and audio CD – with performances and backing tracks - |
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Acoustic Masterclass: Doug Smith — Contemporary Instrumental Guitar, DVD $59.95 New – Each DVD offers six songs performed and taught by a master of the acoustic style. In a special lesson section, key aspects and techniques required for each arrangement are presented. The viewer can select from multiple camera angles, including the full performance or just the left or right hand in close-up. In addition, an artist biography and discography plus several bonus song performances are included in each DVD. Doug Smith, winner of the 2006 Fingerstyle Championship at Winfield Festi |
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Acoustic Masterclass: Doug Smith — Contemporary Instrumental Guitar, DVD $28.38 New – Each DVD offers six songs performed and taught by a master of the acoustic style. In a special lesson section, key aspects and techniques required for each arrangement are presented. The viewer can select from multiple camera angles, including the full performance or just the left or right hand in close-up. In addition, an artist biography and discography plus several bonus song performances are included in each DVD. Doug Smith, winner of the 2006 Fingerstyle Championship at Winfield Festi |
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Acoustic Masterclass: Doug Smith — Contemporary Instrumental Guitar, DVD $39.5 New – Each DVD offers six songs performed and taught by a master of the acoustic style. In a special lesson section, key aspects and techniques required for each arrangement are presented. The viewer can select from multiple camera angles, including the full performance or just the left or right hand in close-up. In addition, an artist biography and discography plus several bonus song performances are included in each DVD. Doug Smith, winner of the 2006 Fingerstyle Championship at Winfield Festi |
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Aineen Musta Puhelin (Black Telephone of Matter) $15.99 Best known as one-half of acclaimed techno minimalists Pan Sonic, Mika Vainio also has an impressive r? sum? as a solo artist that stretches back to the early ’90s and his association with influential Finnish imprint S? hk? . Recording primarily under the aliases ? and Philus, and sometimes his birth name (depending on the project), Vainio’s aesthetic mission has been consistently and rigorously defined by an investigation into the materiality of sound. Indeed, just about everything in his catalog evinces a fascination for the physical extremes of frequency range and dynamics, from raw, wrenching bass tones and piercing sine waves to attacking transients and desultory blasts of white noise. Aineen Musta Puhelin (Black Telephone of Matter), Vainio’s fourth album for the Touch label under his name, is similar to past efforts in its ability to wrest dramatic atmospheres from the most errant of sonic gestures. What’s different here, however, is Vainio’s almost complete abandonment of a rhythmic framework to tie those stray elements together. Even as the brittle arctic-industrial grooves of Pan Sonic and ? — reflected in mid-’90s albums like Vakio (1995), Metri (1994), and Olento (1996) — represented the next evolutionary step in techno’s “man-machine” aesthetics, Aineen Musta Puhelin’s ominous electro-acoustic vistas take that idea even further into the realms of the post-human. Largely sticking to a familiar palette of broadband grays and pitch-black silences, along with occasional glints of white-light frequency play, Vainio’s austere approach is loosened a bit on “Swedenborgia” — likely the only track on the album that references an actual instrumental sound. Resembling a musique concr? te-style edit of a doom metal band, Vainio manages to create a remarkably organic, almost improv-like interplay with a few elements (amplified tape saturation, metallic percussion, and a decaying guitar drone) staged through a clever use of basic dynamics processing (volu… |
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Al Kooper concert at Record Plant on 23 Oct 74 $9.98 Songwriter, Arranger, Bandleader, Musician, Vocalist, Producer, Performer and Historian cover some of what Al Kooper has simultaneously pursued over the past five decades. Few could lay claim to more consistently captivating results in any one of those challenging occupations. In terms of the mid-1960s transition from relatively primitive “rock & roll” to the more adventurous and all encompassing “rock” music, Kooper’s impact cannot be underestimated. The Butterfield Blues Band and The Blues Project, of which Kooper played a vital role, are probably the two most instrumentally influential American bands of the mid 1960s, particularly on an improvisational level. Following his tenure in The Blues Project, Kooper founded Blood, Sweat & Tears, expanding his arranging approach to include horns and recording their first and most engaging album in the process, Child Is Father To The Man. Never one to remain in one place very long, he exited shortly afterward, pursuing session work and a solo career, releasing a line of accomplished albums under his own name. Encompassing blues, rock, gospel and jazz, Kooper always achieved a unified soulful sound, full of subtlety, melodicism and depth. His vocals, instrumental performances and arrangements on these albums all reward repeated listening, the true test of a great recording. Familiarity with Kooper’s earlier work makes this solo acoustic performance all the more fascinating. It’s a testament to both his abilities as a songwriter and as an interpreter of other songwriters. Beginning the set with three songs on acoustic guitar, he warms up with “Brand New Day” from his 1970 album, Easy Does It. He continues with Harry Nilsson’s “Without Her,” one of the many standout tracks from the first Blood, Sweat & Tears LP. Even with just acoustic guitar and voice, this song is so melodically well crafted that its charms are obvious, but it’s the inherent vulnerability in Kooper’s voice that makes this performance so engaging. |
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Almost Here $14.99 The Academy Is… blends the yearning vocals and tense slivers of guitar common to groups like Sleeping at Last, Hidden in Plain View, and labelmates/pals Fall Out Boy. However, the Chicago combo isn’t as concerned about causing a racket as some of its peers, as the huge hooks of “Attention” and “Phrase That Pays” prove. William Beckett carries the latter’s melody with his velvety, bordering on histrionic vocals, and though the electric guitars crash behind him, they never tread into roaring post-hardcore territory. No screaming alternate vocals, no jarring instrumental breaks or squalls of feedback. “Black Mamba”‘s underlying urgency takes a turn for the jaunty in the chorus, and an acoustic guitar rattles in there, too. “Classifieds” and “Slow Down” are equally strong, switching up the tempos and mixing in harmonies so their edges stay soft even when the guitars get loud. This doesn’t mean that the Academy Is… is somehow soft — no more so than similar, lyrics-as-confessional acts like Early November. It’s clear that the songwriting team of vocalist Beckett and guitarist Michael Carden wants to keep Almost Here melodic and very accessible, and the pair succeeds throughout the record. “Checkmarks” features another powerful singalong chorus, “Skeptics and True Believers” moves along at a faster pace, and “Down and Out” kicks in on robust Midwestern power chords. The Academy Is… would benefit from more of this Weezer-derived bottom end. But the band’s slick pop yen is impressive enough throughout Almost Here to make it a strong debut. ~ Johnny Loftus, Rovi |
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America $39.98 America’s debut album is a folk-pop classic, a stellar collection of memorable songs that would prove influential on such acts as the Eagles and Dan Fogelberg. Crosby, Stills & Nash are the group’s obvious stylistic touchstone here, especially in the vocal harmonies used (compare the thick chordal singing of “Sandman” and “Children” to CS&N’s “You Don’t Have to Cry” and “Guinevere”) and the prominent use of active strummed acoustic guitar arrangements (contrast “Riverside” to CS&N’s “Suite: Judy Blue Eyes”). America’s intricate interplay of acoustic guitar textures is more ambitious than that of their influences, however. Performance quality is usually good, though on occasion sloppily executed or out of tune (especially on the openings to “Donkey Jaw” and “I Never Found the Time”). Lengthy instrumental introductions (“Donkey Jaw”), middle improvisatory interludes (“Here”), and closings (“Clarice”) are frequently encountered. Most of these selections boast highly unusual and inventive chord progressions that work well without drawing undue attention to themselves. Lyrics are sometimes trite (“I need you/Like the flower needs the rain”) or obscure (“He flies the sky/Like an eagle in the eye/Of a hurricane that’s abandoned”), but the music more than makes up for any verse problems; only the odd “Pigeon Song” seems an unsalvageable misstep. Sound quality here has a covered, intimate feel that lends a ghostly aura to this release. Chart hits from this album include the spectrally loping “A Horse with No Name,” the squarishly tuneful “I Need You,” and the nervously dour “Sandman.” Other highlights include the buoyantly charming “Three Roses,” the yearningly lovely “Rainy Day,” and the quietly ringing “Clarice.” In spite of its flaws, this platter is very highly recommended. ~ David Cleary, Rovi |
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Back in the Circus $16.98 Jonatha Brooke’s perseverance has paid off. Like Aimee Mann, she’s maneuvered a broken staircase of fluctuating acceptance, band breakups, and record label shakeups with nimble feet and a consistent songwriting vision. Now, she’s arrived on the top floor landing with Back in the Circus, a typically audacious effort that showcases her singing and writing even as it flirts with new musical directions. Good timing — Circus is the third release for her Bad Dog imprint, but the first to benefit from Verve’s distribution, suggesting that its nods to accessibility will find plenty of willing ears. Another first — Brooke served as her own producer. Who better to know just when — or when not to — accentuate Back in the Circus’ expressive vocals, pointed lyrics, and intriguing story arc with subtle programming or bits of modernist instrumental sampling? Sure, Brooke and principal collaborators Eric Bazilian and Ryan Freeland get a bit carried away sometimes. “Less Than Love Is Nothing”‘s push-button percussion stippling and synth washes sidle too closely to being simply satisfactory in the electronic-organic world of 21st century adult alternative music. Likewise, the breezy keys and treated, three-prong glitches of her run through “Fire and Rain” make it pleasant but tentative — too preoccupied with converting the casual fan searching for a gimmick. Covers of “God Only Knows” and Alan Parsons’ “Eye in the Sky” fare much better. The scratchy electronics and acoustic tatters of the former are a cool exercise in deconstruction, while the latter is remade as a classic Jonatha Brooke folk song, full of gorgeously wavering vocal phrasing and tasteful twinges of mandolin over its melancholy piano rhythms. Brooke’s originals overwhelmingly benefit from Circus’ digital organics. The title track is an unbalanced and dizzying cocktail, with accordion, keys, guitar, and laptops all joining in the fray. “Back in the circus/But at least I know the routine,” she sings. “… |
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Buck Owens – The Instrumental Hits of Buck Owens & His Buckaroos $13.49 Buck Owens & His Buckaroos: Buck Owens (leader, vocals, guitar, electric guitar); Don Rich (acoustic & electric guitars, fiddle); Tom… |
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Cut Above the Rest $18.98 After recording Level Headed, an album that mostly forsook their hard rock leanings for pure pop, longtime lead vocalist Brian Connolly left Sweet for good. The rest of the group decided to press on as a trio, combining their pop/rock sound with a variety of other musical styles in a bid to gain a more progressive image. The result was Cut Above the Rest, a bizarre combination of the hard-rocking pop that dominated classic Sweet singles with progressive flights of fancy in a 10cc/Electric Light Orchestra vein, plus a dash of lounge lizard-ish soft rock balladry thrown in to cover all the pop/rock bases. There’s no way an album that tries do so many things at once could succeed at all of them, but Cut Above the Rest is a surprisingly listenable affair. When the elements jell, the songs are positively addictive: “Play All Night” is a blistering rocker that contrasts glam rock guitar riffs with candy-coated vocal harmonies worthy of Queen, and “Mother Earth” is an odd but fascinating hybrid of pop hooks and prog instrumental virtuosity that sounds like Electric Light Orchestra collaborating with Manfred Mann’s Earth Band. “Eye Games” is another successful experiment, a purely acoustic tune with perceptive and witty lyrics about the dating rituals that take place in nightclubs. On the downside, Cut Above the Rest is weighed down by an unfortunate penchant for melodramatic balladry: the attractive harmonies that light up “Big Apple Waltz” are undone by its sappy romance lyrics, and “Hold Me” is histrionic to the point of being unintentionally funny. Despite these lapses, Cut Above the Rest is a distinctive and memorable outing whose experimental edge and strong craftsmanship make it stand out among Sweet’s late-’70s output. It is too erratic for the casual listener, but hardcore Sweet fanatics will find plenty enjoy on this album. [The 2010 reissue on 7T's adds single versions of "Call Me" and "Mother Earth," along with the B-side track "Why Don't You.... |
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Dan in Real Life $18.99 While in the beginning stages of making his film Dan in Real Life, director Peter Hedges went looking for someone to provide music the way Cat Stevens did for Harold and Maude or Simon & Garfunkel for The Graduate, someone to filter the meaning and feel of the movie through his songs. It's hard to argue with his choice; ever since his first record, 2002's Faces Down, Sondre Lerche has proven himself to be a fine chronicler of romantic confusion and winsome melancholy. Lerche was part of the process from almost the very beginning, even attending auditions for main characters and sleeping overnight in the house where the film was shot. The album is made up of a couple of songs from previous albums (a jazzy take on Elvis Costello's "Human Hands" from 2006's Duper Sessions; "Modern Nature," his lovely duet with Lillian Samdal from 2002's Faces Down; and the peppy "Airport Taxi Reception," one of the highlights from 2007's Phantom Punch), plus newly recorded songs. It being a soundtrack, there are several short instrumental pieces, most featuring Lerche on acoustic guitar with subtle backing from pedal steel, trumpet, or piano. They're all very pretty and surely sound nice when sprinkled through the film, but what makes this soundtrack very good are the actual songs Lerche composed for the film. Best of the lot is the lilting and sweet-as-punch "To Be Surprised," but the others are nearly as good, especially "Hell No," a witty duet between Lerche and a very snappy Regina Spektor. Along with short instrumentals, another thing you're sure to find on a soundtrack are stunt covers, easily recognizable songs rendered with a heavy dose of ironic hipness as an easy way to get audiences hooked without seeming like you're pandering to them. Here Lerche adds syrupy strings to Pete Townshend's "Let My Love Open the Door" and escapes pretty harmlessly, but A Fine Frenzy's stilted take on "Fever" makes one wish that Congress would pass a bill banning future covers of... |
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Death or Glory? $22.99 Roy Harper was spurred into making one of his best albums only after his wife abruptly left him in 1992, thrusting him into a deep despair. The rawness of Death or Glory?, and the fact that it was conceived after the bitter dissolution of a decade-long relationship, makes it the emotional, if not artistic, heir of John Lennon/Plastic Ono Band. The album shuns Harper's penchant for over-production in lieu of his more traditional acoustic sound. "The Tallest Tree" is a winning tribute to Chico Mendes with spiraling guitar work by Nick Harper. Harper is also positive in the winsome "Evening Star," which finds him finally recreating his classic early-'70s sound. Harper wrote the song for Robert Plant's daughter on her wedding, and even nicked the first line of "Stairway to Heaven" as a wink to his old mate from Led Zeppelin. Perhaps the album's finest moment is the mostly instrumental tribute to Miles Davis, "Miles Remains," which is not jazzy, but sounds instead like a more guitar-oriented Clannad. But the majority of the album is very pensive and bleak, including the bizarre, weepy spoken word piece that ends the record. The album was remixed in 1999 when Harper deleted some of the more gratuitous pieces in an attempt to make the album less depressing. In any form, Death or Glory? remains one of Harper's most satisfying works, and is his only release from the '90s that most casual fans will want to own. ~ Brian Downing, Rovi |
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Disney – Disney’s Fairy Tale Weddings [Instrumental] $14.99 Recorded at Quad Studio, Nashville, Tennessee. Personnel: Jack Jezzro (acoustic guitar); Mary Alice Hoepfinger (harp); John Mock… |
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Dream $16.98 Keller Williams has built his reputation as a one-man band, but also as an equally prolific and eclectic recording artist. So, it’s no surprise that he would want to stand his self-defined image on its ear with this long-in-the making collection of collaborations with other performers. No less than 31 other singers and musicians join him on one or more of the 16 tracks on the 73-minute CD. The biggest name, particularly for an artist known for his jam band associations, is former Grateful Dead singer/guitarist Bob Weir, who joins Williams on “Cadillac,” the two exchanging acoustic guitar riffs and singing Williams’ typically quirky lyrics. Then there is B? la Fleck, who adds his banjo to the progressive bluegrass of “People Watchin’.” Although perhaps fashioned with the guest stars in mind, those songs are characteristic of Williams’ most frequent style, as is “Sing for My Dinner,” on which he’s joined by the members of the String Cheese Incident, longtime friends of his. Other guests inspire different musical explorations. Jeff Covert contributes drums and lead guitar to the first track, “Play This,” which sounds like a mash-up of hardcore punk rock ? la Black Flag and the funk of Red Hot Chili Peppers. The funk continues with the second track, “Celebrate Your Youth,” featuring the band ModeReko, which could be mistaken for a lost song by Dave Matthews Band. The appearance of Michael Franti on “Ninja of Love” inspires a sort of Japanese reggae number, and Sanjay Mishra and Samir Chatterjee take the music to India for the instrumental “Lil’ Sexy Blues.” Second-generation San Francisco rock guitarist Steve Kimock, with Williams on bass and John Molo on drums, gives “Twinkle” a seven-plus-minute instrumental, the feel of one of the Dead’s “Space” improvisations, but Williams expects jazz guitarist John Scofield to adapt to his own style for “Got No Feather,” and Scofield obliges. No matter who’s accommodating whom, however, this is always Kelle… |
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End of Amnesia $19.98 M.Ward’s second solo enterprise verifies the artist as one of those few songwriters who stand between the cracks of time, where he spins a hallucinatory, new universe out of old-world roots. Indeed, there’s a real down-home, unpolished luster to End of Amnesia, both in execution and in songwriting, that gives it a timeless, old-fashioned pallor. And yet there’s also something just slightly off in the songs, a strange, disembodied quality that seems to come at least partly from an ulterior place, be it real or imagined. That attribute is precisely what gives the music such a singular, distinctive sound and vision. Ward comes off like a sort of one-man the Band with nothing but a beat-up guitar and his sepia croak of a voice. His acoustic guitar playing has the kind of impressive, gutsy virtuosity of Stephen Stills, while the music is part folk-blues ? la Townes Van Zandt and part deep Appalachian pallidness, with a dash of Tin Pan Alley thrown in via the odd foot stomp or honky tonk piano run. Musicianship is superb, and as stark as the instrumentation is, there is first and foremost a special quality of songwriting that results in acoustic instrumentals (the drone-like title track, the wistful “Psalm”) or nearly instrumental ballads (the gauzy, sunlike picking of “Color of Water”). The songs can be unsparing in their desolation, sound-wise if not necessarily in their worldview, although there is certainly a sense of loss present throughout. One gets the feeling, however, that the mood is less a product of a personal feeling than it is a personal perspective of a vanishing era of song, one free of commercial constraint, marketing, or trend. And yet the songs aren’t long glances backward so much as they are outgrowths, seedlings from a great old uprooted tree trying to recapture some of the biblical grandeur that has wilted away, some of the lost importance, trying to refill a shadow that’s no longer there. The album is a keeper, pure, simple, and unaffected b… |
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Everybody’s Pickin’ on Leiber & Stoller – Legends of Acoustic Guitar Salute the Legendary Songwriters – Music Book $16.99 Everybody’s Pickin’ on Leiber & Stoller – Legends of Acoustic Guitar Salute the Legendary Songwriters Music Book, scoring: Instrumental Solo, instruments: Guitar; 104 pages |
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Fast Forward – Acoustic Guitar Chords: A Progressive Apprach to Chords You Can Learn Today! $13.59 New – This exciting series of instrumental instruction books includes complete music plus easy-to-follow instructions, tips and advice. The accompanying CDs allow you to listen and play along to the matching audio tracks. These user-friendly book/CD packs provide riffs, licks, chords and tricks you can learn now, and easily incorporate into your own playing style! There are chord dictionaries and there are rhythm guitar books. This book/CD pack gives you the best of both. Here is a progressive a |
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Fast Forward – Acoustic Guitar Chords: A Progressive Apprach to Chords You Can Learn Today! $5.62 Used – This exciting series of instrumental instruction books includes complete music plus easy-to-follow instructions, tips and advice. The accompanying CDs allow you to listen and play along to the matching audio tracks. These user-friendly book/CD packs provide riffs, licks, chords and tricks you can learn now, and easily incorporate into your own playing style! There are chord dictionaries and there are rhythm guitar books. This book/CD pack gives you the best of both. Here is a progressive |
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Fast Forward – Acoustic Guitar Chords: A Progressive Apprach to Chords You Can Learn Today! $14.58 New – This exciting series of instrumental instruction books includes complete music plus easy-to-follow instructions, tips and advice. The accompanying CDs allow you to listen and play along to the matching audio tracks. These user-friendly book/CD packs provide riffs, licks, chords and tricks you can learn now, and easily incorporate into your own playing style! There are chord dictionaries and there are rhythm guitar books. This book/CD pack gives you the best of both. Here is a progressive a |
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Fast Forward – Acoustic Guitar Chords: A Progressive Apprach to Chords You Can Learn Today! $1.99 Used – This exciting series of instrumental instruction books includes complete music plus easy-to-follow instructions, tips and advice. The accompanying CDs allow you to listen and play along to the matching audio tracks. These user-friendly book/CD packs provide riffs, licks, chords and tricks you can learn now, and easily incorporate into your own playing style! There are chord dictionaries and there are rhythm guitar books. This book/CD pack gives you the best of both. Here is a progressive |
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Fingerstyle Guitar Masterpieces $7.5 Used – 12 instrumental compositions and arrangements from Acoustic Guitar magazine by today’s best fingerstyle players. Hear all the original artist performances on the CD and then use the clear, accurate song transcriptions in notes & TAB to bring their songs to life on guitar. Includes artist bios and photos, plus detailed performance notes with tips from the artists themselves. Includes works by Duck Baker, Peppino D’Agostino, Ed Gerhard, Leo Kottke, Jorma Kaukonen, Adrian Legg, Chris Proctor |
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Fingerstyle Guitar Masterpieces $11.52 New – 12 instrumental compositions and arrangements from Acoustic Guitar magazine by today’s best fingerstyle players. Hear all the original artist performances on the CD and then use the clear, accurate song transcriptions in notes & TAB to bring their songs to life on guitar. Includes artist bios and photos, plus detailed performance notes with tips from the artists themselves. Includes works by Duck Baker, Peppino D’Agostino, Ed Gerhard, Leo Kottke, Jorma Kaukonen, Adrian Legg, Chris Proctor, |
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Fingerstyle Guitar Masterpieces $7.65 New – 12 instrumental compositions and arrangements from Acoustic Guitar magazine by today’s best fingerstyle players. Hear all the original artist performances on the CD and then use the clear, accurate song transcriptions in notes & TAB to bring their songs to life on guitar. Includes artist bios and photos, plus detailed performance notes with tips from the artists themselves. Includes works by Duck Baker, Peppino D’Agostino, Ed Gerhard, Leo Kottke, Jorma Kaukonen, Adrian Legg, Chris Proctor, |
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Fingerstyle Guitar Masterpieces $7.64 Used – 12 instrumental compositions and arrangements from Acoustic Guitar magazine by today’s best fingerstyle players. Hear all the original artist performances on the CD and then use the clear, accurate song transcriptions in notes & TAB to bring their songs to life on guitar. Includes artist bios and photos, plus detailed performance notes with tips from the artists themselves. Includes works by Duck Baker, Peppino D’Agostino, Ed Gerhard, Leo Kottke, Jorma Kaukonen, Adrian Legg, Chris Proctor |
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Follow the Sun $18.98 When the famed rock guitarist emerged from his years with Jefferson Starship (later Starship) and became a solo artist in the mid-’90s, his popular adult contemporary instrumental sound was anchored in a distinctive vibe he defined with the title of his debut solo album, Acoustic Highway. He was coasting along that road for years before deciding to pick up his blazing electric axe again for his Latin-flavored 2000 hit “Caf? Carnival.” The track’s success no doubt inspired him to start mixing acoustic and electric on subsequent projects, and Follow the Sun — his first non-holiday disc in five years — blends the best of both sounds. It kicks off with the blazing Latin and blues fired, Santana-like “Luz Da Mae,” which in Portuguese (Chaquico’s heritage) means “Mother Moon.” The next track, “Azores Lisboa,” which refers to the Azores Islands and Lisbon, has a similar electric and brassy Latin party vibe which will make the listener wonder if there’s a theme taking shape. Turns out, the disc is dedicated to the memories of Chaquico’s beloved parents, whose families hailed from Lisbon. There’s also a nice tie-in to the past as he uses the first guitar his parents ever gave him on the ambient meditation (featuring acoustic and electric) “The Coast of Orion” and the happy and jangling “Island Breeze.” The set can be enjoyed thoroughly even without knowing that emotional element, as it mixes the guitarist’s bright and eternally optimistic melodies with playing that is seductive when it needs to be (the soulful, tropical “Fantasy in Paradise”) and edgy and crackling soon enough (the robust, urban flowing “Barefoot in the Sand”). Adding a blues-rock flair to everything Chaquico does is his longtime right-hand man, keyboard great Ozzie Ahlers. While all of the originals are compelling, Chaquico makes a few quirky, history-filled cover choices which may puzzle fans a bit. Kenny G’s “Songbird” set the standard for the smooth jazz era but is more generic th… |
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Forever [Bonus Tracks] $18.98 Bookended by two tracks that essentially are the same piece — “Everywhere,” a quicker, almost dancy number that still sounds uniquely Cranes, and the slower, stripped-down “Rainbows” — Forever finds Cranes moving from strength to strength. Having reached a new level of variety and elegant restraint combined with brusque power on Wings of Joy, the foursome continued exploring such combinations on Forever without simply rehashing the previous album. If anything, the album went to extremes in both directions — the quieter moments were even more hushed and shadowed, the louder points all that much more whip-snap cruel. “Cloudless” remains the album’s most sweetly beautiful, truly haunting moment. Over what sounds like a synthesized combination of plucked violin and keyboards, doubtless played by Jim Shaw, sister Alison delivers a softly husky vocal that slowly grows in strength. More synth strings swell up in the background, just enough, followed later by gentle electric guitar and at the end distant drums. On a completely different tip, there’s “Clear,” its searing, blunt lead guitar line matched by a massive rhythm slam, only occasionally interrupted by a quieter moment or two before launching back into the full band attack. “Jewel” ended up being a surprise U.K. and U.S. hit, though thanks to a somewhat transformed remix courtesy of longtime fan Robert Smith (in fact, Forever takes its name from a Cure rarity of the same title). On the album, Jim Shaw’s original rougher drums stand out, but the attractive poppy groove of the song remains the same, Alison Shaw’s singing at her clearest yet over the simple but effective acoustic guitar rhythms and abrasive electric solo. Other highlights include the minimal piano-led “Far Away,” with some of Alison’s best vocals; the narcotic guitar chime of “Golden”; and the dramatic, blasting surge of “Adrift.” [Cherry Red’s 2007 reissue included seven bonus tracks, including the pretty, brittle instrumental “T… |
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Forevermore $70.99 Three years ago, Whitesnake released Good to Be Bad, a comeback album that reached the U.K.? s Top Five. It walked the line between their own brand of U.K. hard rock and ? 80s glam metal. On Forevermore, frontman David Coverdale polishes the production — a tad — focuses the guitars more, and successfully fuses Whitesnake’s various eras, and succeeds in spades. There is a new rhythm section with drummer Brian Tichy and bassist Michael Devlin. Forevermore commences with ? Steal Your Heart Away,? an old-school, nasty slide guitar workout with a harmonica solo, that revs into a full-blown blues-rocker with a killer chorus. Guitarists Doug Aldrich and Reb Beach shine on the instrumental bridge. The album’s first single, “Love Will Set You Free,” is top-notch Whitesnake that nods back to the early years while grounding itself in the present. “All Out of Luck” and “Tell Me How” measure up in the same way. “I Need You (Shine a Light)” is an enormous surprise; its hook is so infectious it sounds like Coverdale’s been listening to Cheap Trick’s earliest records. The acoustic midtempo ballad “One of These Days” carries a trace of country in its melody, hearkening back to the Restless Heart era. Coverdale reveals he’s more than competent to write a fine, lyrically savvy love song, when he? s not thinking with his dick. “Fare Thee Well,” another acoustic number, showcases Coverdale at his most intimate. “Whipping Boy Blues? is a dirty slide rocker that reconciles both sides of the band. “My Evil Ways,” with its calamitous drum intro, is punishing; Coverdale pulls out all the stops to deliver his finest vocal performance on the set. The album’s true highlight, however, is in the closing title track. Over seven minutes, it begins as an acoustic number before morphing into a stellar Whitesnake power ballad. After a two-and-a-half minute acoustic guitar/vocal intro, the band enters with a “Kashmir”-like chord sequence; they keep it slow but increase t… |
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Forevermore $16.98 Three years ago, Whitesnake released Good to Be Bad, a comeback album that reached the U.K.? s Top Five. It walked the line between their brand of U.K. hard rock and ? 80s glam metal. On Forevermore, David Coverdale polishes the production — a tad — focuses the guitars more, and successfully fuses Whitesnake’s various eras, and succeeds in spades. There is a new rhythm section with drummer Brian Tichy and bassist Michael Devlin. Forevermore commences with ? Steal Your Heart Away,? an old-school, nasty, slide guitar workout with a harmonica solo, that revs into a full-blown blues-rocker with a killer chorus. Guitarists Doug Aldrich and Reb Beach shine on the instrumental bridge. The album’s first single, “Love Will Set You Free,” is top-notch Whitesnake that nods back to the early years while grounding itself in the present. “All Out of Luck,” and “Tell Me How” measure up in the same way. “I Need You (Shine a Light)” is an enormous surprise; its hook is so infectious it sounds like Coverdale’s been listening to Cheap Trick’s earliest records. The acoustic midtempo ballad “One Of These Days” carries a trace of country in its melody, hearkening back to the Restless Heart era. Coverdale reveals he’s more than competent to write a fine, lyrically savvy love song, when he? s not thinking with his dick. “Fare Thee Well,” another acoustic number, showcases Coverdale at his most intimate. “Whipping Boy Blues? is a dirty slide rocker that reconciles both sides of the band. “My Evil Ways,” with its calamitous drum intro, is punishing; Coverdale pulls out all the stops to deliver his finest vocal performance on the set. The album’s true highlight, however, is in the closing title track. Over seven minutes, it begins as an acoustic number before morphing into a stellar Whitesnake power ballad. After a two-and-a-half minute acoustic guitar/vocal intro, the band enters with a “Kashmir”-like chord sequence; they keep it slow but increase the drama; i… |
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Grateful Dead concert at Fillmore West on 27 Feb 69 $7.98 In terms of the Grateful Dead’s live performances during the 1960s, no run of shows better conveys their expressionistic collective improvisation than a 1969 engagement at Fillmore West that began on February 27th and ran for four consecutive nights through March 2nd. These concerts would be mined for what many consider to be the band’s most important album, Live/Dead, as well as subsequent archival releases decades later. For anyone wondering why so many listeners were so powerfully drawn to The Grateful Dead, one only need listen to the Live/Dead album, which captured the band in inspired form during this first of several career creative peaks. At the time, The Grateful Dead had grown to a seven piece unit that now included second drummer and percussionist Mickey Hart and keyboard player Tom Constanten, two musicians who expanded on the group’s collective influences and added greater complexity and density to the music. It was also during this time that lyricist Robert Hunter became an integral ingredient, contributing lyrics loaded with fantastic imagery. Material like “Dark Star,” “That’s It For The Other One,” “St. Stephen” and “The Eleven” were all coming to full fruition during this time. Hunter’s lyrics and the musician’s instrumental adventurousness created a seductive and intoxicating combination. Presented here is the complete second set from opening night of that now legendary run. To say this set is one of the most fascinating performances of the Dead’s career is not stretching the truth. Indeed, a nearly half-hour continuous sequence from this set became the first and part of the second side of Live/Dead, which many consider to be the band’s greatest album. The set begins with two numbers destined for their next studio album, “Dupree’s Diamond Blues” and “Mountains Of The Moon” with Garcia on acoustic guitar, which was unusual for this era. The former song is Garcia and Hunter’s re-creation of the traditional blues, “Betty And Dupree.” |
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Homecoming $18.98 The warmth of Jim Brickman’s eloquent and heartfelt piano music is a perfect fit for the Christmas season, and his third holiday collection in ten years — following 1997′s The Gift and 2003′s Peace — offers a similarly engaging mix of piano solos, easily rhythmic instrumental ensemble pieces, and songs featuring well-known vocalists. On the instrumental side, the mix of warm and melodic Brickman originals (“Thanksgiving,” “Gathering,” “Bethlehem”) and his inimitable “Brickman-ization” of songs we all know, love, and can’t resist hearing him do (“Silent Night,” listed under its original title “Still Nacht,” “Deck the Halls,” “Auld Lang Zyne”) works brilliantly once again. The vocals are likewise inspiring, beginning with “I Heard the Bells on Christmas Day” sung by the pianist’s frequent collaborator Anne Cochran and featuring the breezy acoustic guitar of smooth jazz star Peter White. While the spiritually driven ballad “Coming Home for Christmas,” featuring former Lonestar lead singer Richie McDonald, was an instant classic focal track, the beautiful lullaby “My Angel (Christmas)” is more poignant for reasons beyond the emotional pull of its melody and lyrics — it was the late R&B artist Gerald LeVert’s last vocal recording. Brickman and LeVert — who both attended Shaker Heights High School in Cleveland — recorded it for the pianist’s 2006 album Escape. Brickman had hoped that they could rework the song with a Christmas lyric for this project, but LeVert passed away before that could happen. It’s a beautiful final testament by one of contemporary soul’s great artists — and a fittingly poignant inclusion on yet another seasonal gem from the wonderfully romantic realm of Brickman. ~ Jonathan Widran, Rovi |
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Hot Tuna concert at Winterland on 02 Oct 73 $12.98 One might expect 1973-era Hot Tuna performing at a Legal Aid Benefit for the Hell’s Angels to be a hard rockin’ affair, but it turns out just the opposite was true. This Winterland concert is just Jorma Kaukonen and Jack Casady serving it up acoustic style. All the elements that make up their unique musical chemistry are on full display, and to some degree, more clearly in focus. Jack’s inventive and percussive bass style can truly be appreciated here. Both he and Jorma are so obviously full of enthusiasm for the new and recent material that they have never sounded better in an acoustic duo setting. This is unexpected as Hot Tuna’s recent album release, Phosphorescent Rat ventured deeper into electric territory than ever before, and they would become more heavily electrified in the years to come. This acoustic performance is all the more fascinating for it, as one gets to hear many of that LP’s tracks in stripped down form, several that were rarely performed live. This was also the general timeframe that Jorma was recording his first solo acoustic album Quah” so we get to hear several of those new songs with Jack adding additional punch. Highlights are many, but the rarely performed Phosphorescent Rat material is outstanding. “Day To Day Out The Window Blues,” “Letter To The North Star,” “Corners Without Exits,” “Living Just For You” and “In The Kingdom” never made it into heavy setlist rotation, but easily stand up to their best material. The new Quah songs include “I’ll Be Alright” and possibly Jorma’s most beautiful song, “Genesis,” Both would soon became standard material, but they also perform the rarely heard “Flying Clouds.” Otherwise, the set is fleshed out with some of their best older songs, including a gorgeous take of the instrumental, “Water Song,” that will delight acoustic guitarists and bass players to no end. For the last song of the set, Jorma unexpectedly straps on an electric guitar and regardless of having no drummer, they let it rip for ni |
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Hot Tuna concert at Winterland on 30 Apr 72 $9.98 This benefit concert for the California Marijuana Initiative featured Copperhead, Stoneground and Dan Hicks and the Hot Licks on a bill with headliners Hot Tuna. There is probably no Hot Tuna album more universally loved than the band’s 1972 release, Burgers. The disk effectively struck a perfect balance between the acoustic and electric extremes that had come to define the two, distinct facets of the band – aside from featuring some of their most captivating material. This concert captures the band at that exact point in time – playing with a creativity and competence more viable than ever before. With Papa John Creach’s electric violin and Sammy Piazza’s drums augmenting Kaukonen and Casady’s distinctive sound, these performances are full of raw expressive energy. Unlike earlier and later permutations of the band that often jammed on almost anything and everything they played, however, the group here focuses on more concise, precise arrangements. This more conservative approach reveals the true beauty of much of their material while allowing one to appreciate the incredible musicianship of Kaukonen and Casady; their interplay and control of dynamics is, at times, astounding. Following their introduction, the band gets things off to a rousing start with several classic songs including “Candyman,” “Been So Long” and “Uncle Sam’s Blues.” Following a break to tune up and allow some stage announcements to be made, the group brings Papa John Creach to the fore and perform his showcase instrumental “John’s Other,” to rapturous applause. They then launch into the new Burgers material, beginning with the searing blues tune “Ode To Billy Dean,” featuring scorching guitar work from Kaukonen. Next up is possibly the most beautiful and fully realized instrumental that Jorma ever wrote: “Water Song.” Much like his classic Airplane instrumental “Embryonic Journey,” this composition features outstanding finger picking guitar work, punctuated by Casady’s contrapuntal bass pla |
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How the Light Gets In $17.98 Tabla player Marcus Wise and acoustic guitarist Dean Magraw are not the first to explore the intersection between American and Indian musical traditions in an acoustic, instrumental format — the ? 60s recordings of people like Sandy Bull and Peter Walker were pioneering in that regard, but is seems likely that the Wise-Magraw duo draws at least some inspiration from them. That said, the tunes on How the Light Gets In — which, incidentally, is a phrase from a ? 90s Leonard Cohen song, “Anthem” — are much less overtly Indian-sounding than, for instance, Walker’s cult-classic album Rainy Day Raga. It’s really Wise’s tabla work that contributes the Indian influence here; Magraw’s guitar follows a path that has more in common with the acoustic world-jazz exploits of Ralph Towner, both the latter’s solo recordings and his work with Oregon. While Magraw — whose background includes a stint as the guitarist on A Prairie Home Companion — does occasionally dip into Eastern modalities here and there, it’s only because he employs such a searching, expansive style, leading him all across the musical map at various points. An extra layer of poignancy is added to this already evocative outing when you realize that it was created shortly after Magraw underwent a bone-marrow transplant in order to treat a rare, life-threatening condition, and he was in a significantly weakened state at the time of the recording. The guitarist was nevertheless determined to reach deep inside of himself and pull out the sounds that heard throughout How the Light Gets In. Of course, it didn’t hurt that he had as agile and empathetic a collaborator as Wise to make the journey all the more interesting. ~ J. Allen, Rovi |
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In These Shoes $16.98 A collaboration between an Afro-Cuban jazz band led by pianist/arranger Arturo O’Farrill and vocalist Claudia Acu? a sounds like it should be a rewarding session. Yet in spite of the strong cast of musicians, including guitarist Adam Rogers, trumpeter Michael Mossman, saxophonist Yosvany Terry, and drummer/composer Dafnis Prieto, the CD is slow to get underway, with initially more of a pop emphasis than jazz for the first few tracks. Acu? a proves seductive in the playful opener “In These Shoes,” though songs like “Paciencia” and “Cuando Cuando” end up sounding like little more than middle of the road Latin pop. Part of the problem is due to the lack of instrumental breaks in the first few songs, while the vocals are sometimes over-engineered. Oddly enough, it is Van Morrison’s tiresome “Moondance” that helps the CD come alive with a perky Cuban chart, Rogers’ crisp acoustic guitar and the leader’s inventive piano backing Acu? a’s magical vocal. The funky cha cha setting of the standard “Willow Weep for Me” is also a lively affair. The invigorating workout of Rub? n Blades’ salsa “Dime” would get any audience up dancing. This is still a valuable release, though it falls somewhat short of its potential. ~ Ken Dryden, Rovi |
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In Your Lonesome Town $13.98 There’s a photo inside Devil in a Woodpile’s In Your Lonesome Town, taken from the point of view of a light fixture far above. It depicts a makeshift recording studio set up on the tile floor and Oriental rug below. An acoustic bass lies on its side near a big piano; washboards, jugs, and a lone kick drum are spread across the far side of the rug. Microphone cords snake here and there, and the surfaces of two National steel-bodied guitars gleam in the camera’s flash. The shot captures the casual hominess of Devil in a Woodpile’s music, the music that takes a toothy-grin approach to blues, bluegrass, hot jazz, and hillbilly sounds, throwing them all into a big hat and using the result to buy beers for the room. (That room is usually a rollicking Chicago tavern called the Hideout, where Woodpile has a regular and unamplified Tuesday night gig.) Bandleader Rick “Cookin’” Sherry is his usual self here, his vocals somewhere between hoedown rap and impromptu Saturday night singer. He plays that washboard, jug, and kick drum throughout Lonesome Town, as well as clarinet (to great effect on a sleepy “Louisiana Fairytale”) and harmonica. Guitarist Joel Paterson is confident, quick, and nimble — he handles a sped-up version of Charley Patton’s “Shake It and Break It,” gives Led Zeppelin’s “Bron-Y-Aur Stomp” a prickly steel guitar quality that matches wits with the bass and chattering washboard, and sloshes along with Sherry on “When I’m Drinkin’.” Sherry’s clarinet is alive again on the shuffling hot jazz number “Has My Gal Been By Here?” (which also features some great tuba work), and the original Sherry/Paterson instrumental “Beer Ticket Rag” is as casual, fun, and hothouse evocative as those Hideout sessions can be. (Great splash cymbal accents, too.) Devil in a Woodpile probably aren’t roots music puritans. They just mix and match what works for them from the forms they love, let Sherry loose over the top, and bind it all together with energetic playing … |
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James Taylor concert at Berkeley Community Theatre on 29 May 70 $9.98 Fans of James Taylor will love this early, totally unplugged concert from America’s leading acoustic singer/songwriter. Recorded in the arts-friendly community of Berkeley, CA, at the dawn of his career in 1970, this show is pure, unedited JT with no gimmicks or other musicians to muddy the presentation. Recorded while Taylor was promoting his first Warner Brothers album, Sweet Baby James, shortly after jumping from his debut album deal with The Beatles’ Apple Records, this show features mostly material from those two discs. Opening with “Country Roads,” Taylor offers up some terrific guitar work, and a baritone voice that is pure and smooth. He then goes into “Something In The Way She Moves,” a tune from his debut album. Interestingly enough, weeks after Taylor recorded this song, George Harrison would write and record a song with The Beatles called “Something,” with the opening line, “Something In The Way She Moves.” Taylor, as always, is personable throughout the show, and whenever possible, comical (check out his rap during “Steamroller Blues”). There are several Taylor originals showcased, including “Blossom,” “Carolina In My Mind,” and perhaps his biggest hit, “Fire & Rain.” The real highlights of the show, however, are the covers, which Taylor delivers beautifully. He performs his trademark version of Carole King and Gerry Goffin’s “Up On The Roof” (originally written for The Drifters) and a tender re-make of friend Joni Mitchell’s “Playing Real Good For Free.” Also included is a version of “In My Reply,” which was penned by his younger brother, Livingston Taylor. He offers a cool instrumental version of the old English tune, “Greensleeves,” (a big hit during the days of Henry VIII, and also Bill Graham’s favorite song), which proves just how versatile and skilled a guitarist he is. Near the end of the show, he does an updated version of the Stephen Foster American classic “Oh Susanna,” which, when written in the 1840s, was likely the first pop song ever |
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James Taylor concert at Fillmore East on 25 Jan 71 $9.98 One couldn’t ask for more from a live vintage James Taylor recording. Not only are the recordings themselves excellent quality, but these two benefit concerts capture Taylor right smack dab in the middle of the Mud Slide Slim and the Blue Horizon LP recording sessions. James mentions that the proceeds from these benefits would be directed toward American Indian related charities. This is 1970, awhile before “Native American” became politically correct. As with the late show, this early set begins solo acoustic. Taylor later mentions that Paul McCartney is in the audience, which may account for opening this set with The Beatles’ “With A Little Help From My Friends.” The recording begins with this song already in progress. “Something In The Way She Moves” and “Carolina In My Mind,” both songs from Taylor’s Apple Records album, are also included in this set. This is likely the debut performance of “Long Ago and Far Away.” “Blossom,” from his Sweet Baby James album, is also performed. The show gets a bit more intimate as James discusses his early childhood in North Carolina and then noodles around on the first song he ever learned – a 1951 Snuff commercial heard on the radio. Then it’s a 180 degree turn into a contemplative instrumental, “Greensleeves,” which showcases Taylor’s remarkably fluid acoustic guitar playing and impeccable arranging skill as it transitions directly into “Sunny Skies.” Following a nod to the Carter Family with a take on “Diamond Joe” and another humorous ditty about Coca-Cola, the rhythm section of Sklar and Kunkel join in, before Danny Kortchmar takes the stage. Unlike the late show recording, here we get to enjoy some electric music as Taylor and Kortchmar plug in for the set closer, “Steamroller Blues.” This is a wonderful arrangement and considerably more exciting than the Sweet Baby James LP version. This begins with Taylor playing the first few verses solo before the band kicks in. Flawless ensemble playing and delicious lead guita |
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Learn to Play Hawaiian Slack Key Guitar $13.62 Used – Hawaiian slack key guitar (Ki Ho’alu) is one of the world’s great acoustic guitar traditions. This tradition includes virtuoso guitar pieces, but the majority of songs played slack key are classic Hawaiian melodies either played as instrumentals or as accompaniment to vocals with instrumental breaks between the verses. The term “slack key” does not refer to a type of guitar, but rather to any guitar played in the slack key style, that is, in alternate tunings with “slacked” strings and fi |
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Learn to Play Hawaiian Slack Key Guitar $13.62 New – Hawaiian slack key guitar (Ki Ho’alu) is one of the world’s great acoustic guitar traditions. This tradition includes virtuoso guitar pieces, but the majority of songs played slack key are classic Hawaiian melodies either played as instrumentals or as accompaniment to vocals with instrumental breaks between the verses. The term “slack key” does not refer to a type of guitar, but rather to any guitar played in the slack key style, that is, in alternate tunings with “slacked” strings and fin |
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Learn to Play Hawaiian Slack Key Guitar $17.96 New – Hawaiian slack key guitar (Ki Ho’alu) is one of the world’s great acoustic guitar traditions. This tradition includes virtuoso guitar pieces, but the majority of songs played slack key are classic Hawaiian melodies either played as instrumentals or as accompaniment to vocals with instrumental breaks between the verses. The term “slack key” does not refer to a type of guitar, but rather to any guitar played in the slack key style, that is, in alternate tunings with “slacked” strings and fin |
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Learn to Play Hawaiian Slack Key Guitar $17.96 Used – Hawaiian slack key guitar (Ki Ho’alu) is one of the world’s great acoustic guitar traditions. This tradition includes virtuoso guitar pieces, but the majority of songs played slack key are classic Hawaiian melodies either played as instrumentals or as accompaniment to vocals with instrumental breaks between the verses. The term “slack key” does not refer to a type of guitar, but rather to any guitar played in the slack key style, that is, in alternate tunings with “slacked” strings and fi |
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Low Down and Tore Up $16.98 For his 18th album on Stony Plain, Duke Robillard leads his band — Bruce Bears on piano, Brad Hallen on acoustic bass, and Mark Teixeira on drums — through a set of covers of often obscure blues tunes from the late 1940s and early ? 50s. It’s as if he is trying to re-create the contents of a jukebox in some Chicago bar of the era, with two songs each drawn from the repertoires of Guitar Slim (“Quicksand,” “Later for You Baby”), Tampa Red (“Mercy Mercy Mama,” “Let Me Play with Your Poodle”), Sugar Boy Crawford (“Overboard,” “What’s Wrong”), Pee Wee Crayton (“Blues After Hours,” “Do Unto Others”), and Elmore James (“Tool Bag Boogie,” “The 12 Year Old Boy”), plus Eddie Taylor’s “Trainfare Home,” John Lee Hooker’s “Want Ad Blues,” Jimmy McCracklin’s “It’s Alright,” and Bobby “Blues” Merrill’s “I Ain’t Mad at You.” Some of those names are well known, while many are not, but Robillard makes a case for them all as blues masters. It is possible to hear much later music in the variety of blues styles here. “Tool Bag Boogie,” an instrumental, sounds like the track for a Chuck Berry song, for instance, while “What’s Wrong” has the same stop-and-start pattern of Muddy Waters’ “I’m a Man.” “I Ain’t Mad at You” is a jump blues in the manner of Louis Jordan. And “Do Unto Others” displays a frantic guitar riff later borrowed by the Beatles for the opening of “Revolution.” Robillard and his musicians (including guests Matt McCabe on piano on half the tracks and Sax Gordon on — what else? — sax on all but three) are not interested in polishing or updating the music; when, in Dick Shurman’s liner notes, Robillard speaks of the “crudeness” of Gordon’s playing, he means it as a compliment. The musicians are aiming at authenticity, to the extent of recording quickly and with instruments, amplifiers, and microphones that can replicate the original recordings. They succeed in bringing back to life a time and a sound that continue to serve… |
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MM8 88 Key Pro Keyboard $999.99 This Music Synthesizer delivers all the musical power and creative control you need – and a whole lot more. Taking it's sounds from the highly popular pro-level MOTIF series instruments, the MM8 has an enormous variety of dynamic, authentic Voices to help you create and perform in virtually any style of music. This powerful instrument also gives you total control over your sound, letting you dynamically change sonic textures as you play with real-time tweakable knobs. Also built-in are special Patterns that provide full instrumental backing – drums, bass and chords – to accompany your live performance and song creation. The full length 88-key keyboard of the MM8 delivers natural touch and expressive control over the complete piano range. Features: Super-high-quality sounds Tons of real-time control Dynamic music creation toolsincluding automatic Pattern and Arpeggiator generators Performance Memory for instantfull-panel setting changes Versatile song recording features with eight normal tracks and one Pattern track Convenient, easy-to-use data storage solutions PLAYABILITYThe MM8 has 418 Voices and 22 Drum Kits on board, all based on the dynamic, realistic sounds of the advanced MOTIF series synthesizers. These exceptionally high-quality sounds range from authentic acoustic instruments to wild, unique and in-your-face synth Voices. An extra set of GM Voices is built into the instrument as well, giving you all you need to play back songs recorded in that popular format. With so many Voices to choose from, you might think it's difficult to select the ones you need. Not so. The convenient Category Search function lets you choose the type of instrument you want to play – organ, guitar, synth, lead, strings, whatever – then select the specific Voice. All your favorite sounds are right at your fingertips, ready to play when you are. Comprehensive Control The MM series is all about control. Take a look at some of the ways you can use it to power your performance |
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Michael Schenker – Thank You, Vol. 2 $15.99 Billed as an “instrumental acoustic album,” this disc certainly shows that there is more to Michael Schenker than just a metal guitar… |
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Mikey Wax $85.2 New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Mikey Wax is an American Pianist, Guitarist and singer-songwriter. Mikey Wax is a singer/songwriter from Long Island, NY, who started playing piano at the age of 8. He tends to also write and perform on acoustic guitar. At the age of 16, Mikey had an instrumental track of his featured in the independent film Magic Rock. Upon graduating from high school, Mikey atte |
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Mikey Wax $58.74 New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Mikey Wax is an American Pianist, Guitarist and singer-songwriter. Mikey Wax is a singer/songwriter from Long Island, NY, who started playing piano at the age of 8. He tends to also write and perform on acoustic guitar. At the age of 16, Mikey had an instrumental track of his featured in the independent film Magic Rock. Upon graduating from high school, Mikey atte |
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Mikey Wax $83.4 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Mikey Wax is an American Pianist, Guitarist and singer-songwriter. Mikey Wax is a singer/songwriter from Long Island, NY, who started playing piano at the age of 8. He tends to also write and perform on acoustic guitar. At the age of 16, Mikey had an instrumental track of his featured in the independent film Magic Rock. Upon graduating from high school, Mikey att |
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Mikey Wax $46.74 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Mikey Wax is an American Pianist, Guitarist and singer-songwriter. Mikey Wax is a singer/songwriter from Long Island, NY, who started playing piano at the age of 8. He tends to also write and perform on acoustic guitar. At the age of 16, Mikey had an instrumental track of his featured in the independent film Magic Rock. Upon graduating from high school, Mikey att |
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One Guitar, No Vocals $32.41 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. One Guitar No Vocals is an instrumental album by guitarist Leo Kottke, released in 1999. Leo Kottke (born 11 September 1945, Athens, Georgia, U.S.) is an acoustic guitarist. He is widely known for his innovative fingerpicking style, which draws on influences from blues, jazz, and folk music, and his syncopated, polyphonic melodies. Kottke has overcome a series of |
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One Guitar, No Vocals $52.9 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. One Guitar No Vocals is an instrumental album by guitarist Leo Kottke, released in 1999. Leo Kottke (born 11 September 1945, Athens, Georgia, U.S.) is an acoustic guitarist. He is widely known for his innovative fingerpicking style, which draws on influences from blues, jazz, and folk music, and his syncopated, polyphonic melodies. Kottke has overcome a series of |
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One Guitar, No Vocals $37.01 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. One Guitar No Vocals is an instrumental album by guitarist Leo Kottke, released in 1999. Leo Kottke (born 11 September 1945, Athens, Georgia, U.S.) is an acoustic guitarist. He is widely known for his innovative fingerpicking style, which draws on influences from blues, jazz, and folk music, and his syncopated, polyphonic melodies. Kottke has overcome a series of |
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One Guitar, No Vocals $57.6 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. One Guitar No Vocals is an instrumental album by guitarist Leo Kottke, released in 1999. Leo Kottke (born 11 September 1945, Athens, Georgia, U.S.) is an acoustic guitarist. He is widely known for his innovative fingerpicking style, which draws on influences from blues, jazz, and folk music, and his syncopated, polyphonic melodies. Kottke has overcome a series of |
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Play Acoustic Guitar With Coldplay $23.71 New – Play guitar or sing along with the soundalike backing tracks and full instrumental demos on the CD. Songs featured are: Don’t Panic, God Put A Smile Upon Your Face, Green Eyes, A Rush of Blood to the Head, Shiver, Sparks, Yellow. |
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Play Acoustic Guitar With Coldplay $8.85 New – Play guitar or sing along with the soundalike backing tracks and full instrumental demos on the CD. Songs featured are: Don’t Panic, God Put A Smile Upon Your Face, Green Eyes, A Rush of Blood to the Head, Shiver, Sparks, Yellow. |
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Ride the Lightning $16.98 Kill ‘Em All may have revitalized heavy metal’s underground, but Ride the Lightning was even more stunning, exhibiting staggering musical growth and boldly charting new directions that would affect heavy metal for years to come. Incredibly ambitious for a one-year-later sophomore effort, Ride the Lightning finds Metallica aggressively expanding their compositional technique and range of expression. Every track tries something new, and every musical experiment succeeds mightily. The lyrics push into new territory as well — more personal, more socially conscious, less metal posturing. But the true heart of Ride the Lightning lies in its rich musical imagination. There are extended, progressive epics; tight, concise groove-rockers; thrashers that blow anything on Kill ‘Em All out of the water, both in their urgency and the barest hints of melody that have been added to the choruses. Some innovations are flourishes that add important bits of color, like the lilting, pseudo-classical intro to the furious “Fight Fire with Fire,” or the harmonized leads that pop up on several tracks. Others are major reinventions of Metallica’s sound, like the nine-minute, album-closing instrumental “The Call of Ktulu,” or the haunting suicide lament “Fade to Black.” The latter is an all-time metal classic; it begins as an acoustic-driven, minor-key ballad, then gets slashed open by electric guitars playing a wordless chorus, and ends in a wrenching guitar solo over a thrashy yet lyrical rhythm figure. Basically, in a nutshell, Metallica sounded like they could do anything. Heavy metal hadn’t seen this kind of ambition since Judas Priest’s late-’70s classics, and Ride the Lightning effectively rewrote the rule book for a generation of thrashers. If Kill ‘Em All was the manifesto, Ride the Lightning was the revolution itself. ~ Steve Huey, Rovi |
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Rock Band Guitar Method – Learn How To Play Electric or Acoustic Guitar Using Songs From the Popular Video Game! – Book/CD set $12.95 Rock Band Guitar Method – Learn How To Play Electric or Acoustic Guitar Using Songs From the Popular Video Game! Book/CD set, scoring: Instrumental Solo, instruments: Guitar; 32 pages |
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SM-57 Cardioid Dynamic Instrument Microphone $99 The Shure SM-57 is the number one microphone for miking musical instruments in live performance. Shure recommends the SM-57 mic for brass, saxophones, acoustic guitar, snare drums and for putting the sound of your guitar amp or bass amps through a PA system to increase the volume without altering the sound. The SM-57 is a versatile microphone that can also be used for vocals and is at home in the recording studio.The Shure SM57 microphone has a cardioid pickup patter that is extremely effective at rejecting background noise. This is very important in eliminating feedback and in giving you a clean defined sound source that rejects the handling and mechanical noises of your instrument and other equipment and produces a clean clear signal for your sound system. The same characteristics make the SM-57 an excellent microphone for recording.If you have been dealing with professional sound or recording equipment, you probably already know the Shure SM57 as the workhorse it is. If not, ask any recording or sound engineer and they will tell you that the Shure SM57 is the standard for instrument recording and the only choice for miking a snare drum.Get your Shure SM57 Microphone from Sam Ash Direct at the guaranteed lowest price with fast free shipping today and have the confidence that your purchase is backed by the Sam Ash 45/60 day return/price protection policy and over 86 years of Sam Ash professional experience.Here are the features in a nutshell: Contoured frequency response for clean, instrumental reproduction and rich vocal pickup Professional-quality reproduction for drum, percussion, and instrument amplifier miking Uniform cardioid pickup pattern isolates the main sound source while reducing background noise Pneumatic shock-mount system cuts down handling noise Extremely durable under the heaviest use Frequency response: 40 to 15,000 Hz Supplied break-resistant swivel adapter that rotates 180 Legendary Shure quality, ruggedness, and reliabilityIncl |
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Sex and Gasoline $16.98 Sex and Gasoline is Rodney Crowell’s first record in three years, where he goes further inside but pulls out accessible and jagged observations on the conflicting poles in what it means to be a conscious human being who struggles with unconscious urges. In these songs he also investigates what it means to be a man who tries — and fails a lot — to empathize with and respect women in a culture that, whether it admits it or not, hates them. Produced by Joe Henry and performed by his own nearly ubiquitous sound-painting crew of drummer Jay Belleros, bassist David Pilch, keyboardist Patrick Warren, pedal steel, mandolin, and dobro master Greg Leisz, and guitar boss Doyle Bramhall III, this is Crowell at his most direct and dense: he channels many other songwriters, but as always he remains completely his own man. The title track opens the set with a mutant acoustic blues; it works with a culture-jamming sense of poetry, with images as angry as Steve Earle’s (without the autodidacticism) yet as dense and raggedly elegant as Bob Dylan’s. Henry’s killer band adorns Crowell’s blur of images with a strident yet warm piano, a mandolin, strummed layers of acoustic guitar, and a throbbing upright bassline walking the snare toward his indictment of how we view women, what we expect of them, and an exhortation to admit it. This is underscored on the ballad “Moving Work of Art,” where Crowell implicates himself as one who objectifies women despite his intentions — that he can use the language employed here points to his guilt. He tells a story, but uses the most poignant images to offer its truth — he doesn’t expect you to take his word for it (even when he flips the coin and shines a light on those who understand this objectification but seek it for personal gain). The fat, warm bassline, fingerpicked guitars, and pedal steel offer an instrumental mix that invokes reverie, a look through the mirrored glass darkly. Rounding out this amazing consecutive trio is “The Rise a… |
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Spanish Fly (Song) $58.8 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. “Spanish Fly” is an instrumental solo played on a nylon string acoustic guitar by Eddie Van Halen. It was featured on his band Van Halen’s 1979 album Van Halen II. The song was viewed by many as a follow up to the famous electric guitar based instrumental “Eruption” from the band’s first album Van Halen released in 1978. There are two explanations for the writing |
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Spanish Fly (Song) $32.41 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. “Spanish Fly” is an instrumental solo played on a nylon string acoustic guitar by Eddie Van Halen. It was featured on his band Van Halen’s 1979 album Van Halen II. The song was viewed by many as a follow up to the famous electric guitar based instrumental “Eruption” from the band’s first album Van Halen released in 1978. There are two explanations for the writing |
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Split Lip Rayfield $33.97 New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Split Lip Rayfield is a vocal and acoustic instrumental group from Wichita, Kansas. Though they are sometimes classified as a bluegrass, alt-country or cowpunk band, their music draws on a wide array of influences. Split Lip Rayfield is a band from Wichita, Kansas featuring Kirk Rundstrom (guitar), Eric Mardis (banjo), Wayne Gottstine (mandolin), and Jeff Eaton (b |
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Split Lip Rayfield $46.8 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Split Lip Rayfield is a vocal and acoustic instrumental group from Wichita, Kansas. Though they are sometimes classified as a bluegrass, alt-country or cowpunk band, their music draws on a wide array of influences. Split Lip Rayfield is a band from Wichita, Kansas featuring Kirk Rundstrom (guitar), Eric Mardis (banjo), Wayne Gottstine (mandolin), and Jeff Eaton ( |
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Split Lip Rayfield $33.97 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Split Lip Rayfield is a vocal and acoustic instrumental group from Wichita, Kansas. Though they are sometimes classified as a bluegrass, alt-country or cowpunk band, their music draws on a wide array of influences. Split Lip Rayfield is a band from Wichita, Kansas featuring Kirk Rundstrom (guitar), Eric Mardis (banjo), Wayne Gottstine (mandolin), and Jeff Eaton ( |
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Split Lip Rayfield $46.8 New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Split Lip Rayfield is a vocal and acoustic instrumental group from Wichita, Kansas. Though they are sometimes classified as a bluegrass, alt-country or cowpunk band, their music draws on a wide array of influences. Split Lip Rayfield is a band from Wichita, Kansas featuring Kirk Rundstrom (guitar), Eric Mardis (banjo), Wayne Gottstine (mandolin), and Jeff Eaton (b |
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Taj Mahal concert at Ash Grove on 26 Feb 67 $9.98 Whether he was recording solo acoustic, fronting a rock band, or weaving his trademark National steel guitar around a tuba-dominated blues band, between 1967 and the present day, Taj Mahal has created some of the most consistently engaging modern blues, inspiring countless other musicians along the way. His multi-instrumental abilities and multi-cultural vision of the blues transcended previous limitations of the genre, and he should be credited for playing an enormous role in revitalizing and preserving traditional blues. Born Henry St. Claire Fredericks in 1942, he was raised in Springfield, Massachusetts by parents who encouraged their children to take pride in their diverse ethnic, musical, and cultural roots. His father was a jazz pianist, composer, and arranger of Caribbean descent and his mother was a gospel-singing schoolteacher from South Carolina. In addition to the direct influence of his parents, many American musicians, as well as musicians from the Caribbean and Africa, were frequent visitors to the Fredericks’ home, exposing the teenager to a diverse range of roots music. His parents provided him with piano lessons, but he quickly gravitated toward his own interests and in the process learned to play clarinet, trombone, and harmonica. Like countless other teenagers in the 1950s, he soon became enamored with singing and playing the guitar. When a blues guitarist became one of his next-door neighbors, Henry latched on to him, learning the stylistic rudiments of Lightnin’ Hopkins, John Lee Hooker, Muddy Waters, and Jimmy Reed, thus beginning a lifelong fascination with the raw earthy sounds of the Delta and Chicago blues greats. The musical heritage of both parents would figure more prominently in Taj Mahal’s music as the years went by, but by the time he was attending college at the University of Massachusetts in the early 1960s, he was fronting an R&B party band called the Elektras. It was as lead singer of the Elektras that Henry first adopted hi |
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Taj Mahal concert at Lenox Music Inn on 12 Aug 72 $9.98 Whether he was recording solo acoustic, fronting a rock band or weaving his trademark National steel guitar around a tuba-dominated blues band, between 1967 and 1971 Taj Mahal created some of the most consistently engaging modern blues music, inspiring countless other musicians of the era. His multi-instrumental abilities and multicultural vision of the blues transcended previous limitations of the genre, and he should be credited for playing an enormous role in revitalizing and preserving traditional blues. Initially honoring the Mississippi Delta blues masters, his early albums emphasized his forceful steel guitar playing and hard hitting vocals, recorded in a sparse manner, not unlike the originals. By the end of the 1960s, Taj Mahal’s scope had broadened and with the help of Native American guitarist, Jesse Ed Davis, as well as the extraordinary tuba player Howard Johnson, he began achieving a bigger more soulful sound with increasing variety. It is a testament to his vision and talent that these increasingly adventurous albums remained fresh, new and exciting even though he continued to explore music from a bygone era. This 1972 recording is particularly fascinating as it returns to his initial approach, so well-realized on his first two solo acoustic albums. His culture spanning abilities are readily apparent here, and the set displays his keen sense of timing and rhythm as well as strong confident vocals. Regardless of the material, and there is a very fine selection of songs here, Taj Mahal finds and enhances the bluesy roots at the core of anything he chooses to play. This set features a wide variety of material, with the majority of it stripped down renditions of classic Delta Blues. But even when he ventures off the beaten path, as he does on “Kalimba” (an instrumental played on Kalimba alone) or the bluegrass inflected “M’Banjo,” he remains genuinely immersed in the blues. Nowhere is this more apparent than on the lengthy a cappella excursion of |
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Taj Mahal concert at St. Paul Theater on 17 Mar 75 $9.98 Whether solo acoustic, fronting a rock band, or weaving his trademark National steel guitar around music of the West Indies, South America, reggae, or whatever tickles his fancy, Taj Mahal creates some of the most consistently engaging modern blues on the planet. During the 1960s and 1970s his influence was at its greatest, inspiring countless other musicians with his unique approach to music. His multi-instrumental abilities and multicultural vision of the blues transcended previous limitations of the genre, and he should be credited for playing an enormous role in revitalizing and preserving traditional blues. Initially honoring the Mississippi Delta blues masters, his early albums emphasized his forceful steel guitar playing and hard-hitting vocals, recorded in a sparse manner, not unlike the originals. By the end of the 1960s, Taj Mahal’s scope had broadened, and with the help of Native American guitarist, Jesse Ed Davis, as well as the extraordinary tuba player Howard Johnson, he began achieving a bigger, more soulful sound with increasing variety. It is a testament to his vision and talent that these increasingly adventurous albums remained fresh, new, and exciting, even though he continued to explore music from a long bygone era. Opening for jazz drummer extraordinaire, Billy Cobham, before his fusion-comprehending audience, this 1975 recording captures Taj Mahal creating a fusion all his own. Indeed, 1975 would prove to be one of the most productive years of his entire career, with multiple album releases, soundtrack work, and plenty of performing. This is also near the beginning of a long and fruitful musical relationship between Taj Mahal and the International Rhythm Band, a loose group of musicians who would accompany him in one form or another for years to come. This set features a wide variety of material, beginning with the more traditional blues of “Wandering Minstrel,” performed alone and then with band members joining him onstage, before movi |
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The Acoustic Guitar Fingerstyle Method: Learn to Play Using the Techniques and Songs of American Roots Music Two-DVD Set $25.24 New – Based on his popular book published by Acoustic Guitar magazine, David Hamburger’s DVD lessons provide a comprehensive examinationof the two most essential fingerstyle approaches: Travis picking and steady-bass blues style. He teaches each concept and follows it up with a classic song or instrumental from the blues, country, folk and ragtime traditions: John Henry * Delia * Alberta * St. James Infirmary * St. Louis Blues * and more. LEVEL 2 * INCLUDES MUSIC + TAB .PDF * 2 HRS. AND 30 MIN. |
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The Acoustic Guitar Fingerstyle Method: Learn to Play Using the Techniques and Songs of American Roots Music Two-DVD Set $20.38 New – Based on his popular book published by Acoustic Guitar magazine, David Hamburger’s DVD lessons provide a comprehensive examinationof the two most essential fingerstyle approaches: Travis picking and steady-bass blues style. He teaches each concept and follows it up with a classic song or instrumental from the blues, country, folk and ragtime traditions: John Henry * Delia * Alberta * St. James Infirmary * St. Louis Blues * and more. LEVEL 2 * INCLUDES MUSIC + TAB .PDF * 2 HRS. AND 30 MIN. |
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The Acoustic Guitar Fingerstyle Method: Learn to Play Using the Techniques and Songs of American Roots Music Two-DVD Set $20.38 Used – Based on his popular book published by Acoustic Guitar magazine, David Hamburger’s DVD lessons provide a comprehensive examinationof the two most essential fingerstyle approaches: Travis picking and steady-bass blues style. He teaches each concept and follows it up with a classic song or instrumental from the blues, country, folk and ragtime traditions: John Henry * Delia * Alberta * St. James Infirmary * St. Louis Blues * and more. LEVEL 2 * INCLUDES MUSIC + TAB .PDF * 2 HRS. AND 30 MIN. |
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The Acoustic Guitar Fingerstyle Method: Learn to Play Using the Techniques and Songs of American Roots Music Two-DVD Set $25.24 Used – Based on his popular book published by Acoustic Guitar magazine, David Hamburger’s DVD lessons provide a comprehensive examinationof the two most essential fingerstyle approaches: Travis picking and steady-bass blues style. He teaches each concept and follows it up with a classic song or instrumental from the blues, country, folk and ragtime traditions: John Henry * Delia * Alberta * St. James Infirmary * St. Louis Blues * and more. LEVEL 2 * INCLUDES MUSIC + TAB .PDF * 2 HRS. AND 30 MIN. |
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The Byrds concert at Fillmore East on 09 Jun 71 $9.98 Recorded a few weeks prior to the closing of the Fillmore East, this show was to be the last concert played by The Byrds at either Fillmore. Having undergone numerous personnel changes, The Byrds, by the summer of 1971, were at their expressive peak as a live band, having sustained a consistent lineup for almost two years. At a time when many of their contemporaries were either breaking up or losing their creative potency, The Byrds had redefined their sound the year before with the double album Untitled. A new generation of fans had developed, and after years of struggling on stage, they had finally gained a reputation as a great live band. The success was due in no small part to the contribution of ex-Kentucky Colonels guitarist Clarence White, whose innovative string bending techniques combined with McGuinn’s signature sound to extend their exploration of country music and create a heavier electric rock sound in concert. This recording is possibly the best example of these two guitar players’ unique chemistry one could hope for. The tape mix is very well balanced, allowing one to clearly hear the musical dialogue between Clarence’s sizzling, string bending Telecaster and Roger’s distinctive, 12-string Rickenbacker. Unfortunately, the first song of the set is missing from this recording. The second song begins in progress, with the band in full electric mode performing Dylan’s “My Back Pages” followed by a rocking “Baby What You Want Me To Do.” Next up is one of the earliest covers of a Jackson Browne song, “Jamaica Say You Will.” A rare treat follows, as the group performs a mini-set of four acoustic numbers, including the traditional instrumental “Black Mountain Rag,” Dylan’s “Mr. Tambourine Man,” “Pretty Boy Floyd” and a cover of Leadbelly’s cocaine song, “Take A Whiff On Me.” The band returns to full electric mode for a wonderful version of “Chestnut Mare” followed by a rocking “Jesus Is Just Alright.” The set then builds to possibly the most astounding v |
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The Multi-Instrumental Guitarist: Book & CD $47.74 New – Greg Horne, the best-selling author of the Complete Acoustic Guitar Method, and Stacy Phillips, one of the world’s foremost DOBRO performers and educators, have teamed up to create the ultimate resource for acoustic guitarists ready to step up to a new level of musicianship. Become an in-demand acoustic musician by learning to play mandolin, ukulele, lap dulcimer, Dobro, and several kinds of banjo. This book covers the tunings, techniques and styles you need to know to become a true multi- |
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The Multi-Instrumental Guitarist: Book & CD $34.35 New – Greg Horne, the best-selling author of the Complete Acoustic Guitar Method, and Stacy Phillips, one of the world’s foremost DOBRO performers and educators, have teamed up to create the ultimate resource for acoustic guitarists ready to step up to a new level of musicianship. Become an in-demand acoustic musician by learning to play mandolin, ukulele, lap dulcimer, Dobro, and several kinds of banjo. This book covers the tunings, techniques and styles you need to know to become a true multi- |
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The Multi-Instrumental Guitarist: The Acoustic Musician’s Guide to Versatility, Book & CD $47.74 Used – Greg Horne, the best-selling author of the Complete Acoustic Guitar Method, and Stacy Phillips, one of the world’s foremost DOBRO performers and educators, have teamed up to create the ultimate resource for acoustic guitarists ready to step up to a new level of musicianship. Become an in-demand acoustic musician by learning to play mandolin, ukulele, lap dulcimer, Dobro, and several kinds of banjo. This book covers the tunings, techniques and styles you need to know to become a true multi |
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The Multi-Instrumental Guitarist: The Acoustic Musician’s Guide to Versatility, Book & CD $34.35 Used – Greg Horne, the best-selling author of the Complete Acoustic Guitar Method, and Stacy Phillips, one of the world’s foremost DOBRO performers and educators, have teamed up to create the ultimate resource for acoustic guitarists ready to step up to a new level of musicianship. Become an in-demand acoustic musician by learning to play mandolin, ukulele, lap dulcimer, Dobro, and several kinds of banjo. This book covers the tunings, techniques and styles you need to know to become a true multi |
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USED: Love in Time $9.99 Shortly before his death from prostate cancer in 2007, Dan Fogelberg completed his final studio album, locked it in a safe deposit box, and directed his wife to release it after his passing. Long considered one of the landmark artists of the ’70s smooth singer/songwriter genre, the Illinois native released very little new material in his last decade, making the classic sound contained on Love in Time all the more welcome. Full of songs that could easily sit alongside his biggest hits such as “Longer Than,” “Same Old Lang Syne,” and “Leader of the Band,” the album pairs Fogelberg’s soothing voice and expert songcraft with just the right amount of subtle instrumental backing. “Come to the Harbor,” with its jaunty strumming and electric sitar motif, sounds like Cat Stevens’ “Peace Train” meets the Beatles’ “Norwegian Wood,” while “Sometimes a Song” is a quintessential Fogelberg love ballad, with a stick-in-the-head melody and spare, acoustic guitar-based accompaniment. A cover of Neil Young’s “Birds” is dressed with gorgeous Eagles-esque vocal harmonies and serves as a poignant and chill-inducing closer, its final — and in this case literal — lyric, “it’s over,” seeming to echo long after the song ends. A gentle, finely crafted, and passionately performed album, Love in Time is a career coda both satisfying and bittersweet. ~ Pemberton Roach, Rovi |
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