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Bass Guitar Artists

Ways to Get Basic Bass Guitar Instruction At Home

The majority of types of scientists and research workers are stating to us that the music student is going to be alot more intelligent in comparison to the guy with out music knowledge. It is far better to learn an instrument than learn the personal computer they say. That is really true if you wish to grow abstract reasoning techniques that is important for the study of maths and science.Visit our website to get bass lessons today!

Unless you are a specialist, it's difficult to know for sure if they're wrong or right. Given that many facts are continuously changing, it seems reasonable to put aside research for this article and focus your attention on a few acknowledged, proven facts that explains why you'll want to learn a musical instrument?

Fact 1.If you've got a desire to learn and you can manage the money and time for the studies, you owe it to yourself to snap up the chance while you have it. Generally, the prospect is not going to knock again.

Fact 2.If you are a teenage person, mastering a musical instrument may help to keep you from getting into trouble. A lot of youngsters who are involved in trouble have low self-esteem or self-image. They are easily led; these people fail to think individually, they are followers. Look at great tips on teach me bass guitar here...

Fact 3.If you're an adult person, learning a musical instrument should fill you with zeal as well as a brand new vigor for living. You will certainly be admired by your mates & spouse and children during the time you perform in front of them. It's also possible to really be the driver to moving them towards the same path. Look at additional resources on learn to play bass guitar dvd here...

Pick up a new hobby today by starting to play bass. It is not as difficult as you think it is. Trying to learn music can be a beneficial past-time in which you can easily get pleasure from during your life-time as well as fill your own leisure time with good fun.

Bass Guitar Artists

Improve Your Results in Bass Fishing With These Tactics.

Sponsored By: Discount Gerber Knives

There are as many opposing facets to bass fishing; as there are fishermen to argue about them. Given the fact that there are always new techniques and discoveries arising about bass fishing, it would be impossible to at some point know all there is to know, no matter how long you have been fishing. The bass fishing tactics we'll be discussing here may help you the next time you're on the water with your rod and reel.

Successful bass fishing begins with finding out where the fish actually are in the water before you begin. You can go to great fishing spot, but still miss the real action if you don't where to look for the kind of fish you're after. Most fish have a specific type of natural environment that they like to live in and largemouth bass are no different. This certain type of fish enjoys living underwater where there is shelter, weed beds, and plentiful amounts of smaller baitfish to munch on for food. These fish also do not like direct bright sunlight and prefer water temperatures between 60°F and 75°F. Another thing that these fish like are cattails and lily pads, especially if there are frogs in the area. Early morning and late in the evening are the best times to find these fish.

Choosing the right fishing hooks, and getting the right tackle for your fishing trip, is essential before you go. Bass have tough skin, and it takes a durable and sharp hook to catch them, but the type of hook you choose will depend on the bait you're using. Experienced fishermen know that bringing a hook sharpener with them can help them increase their odds of hooking a fish. Without this, there's a good chance that you'll lose many fish. Fishing trips, especially ones that last from dawn till dusk, will require the sharpening of your hooks once or twice daily. To make sure you are fishing with a right hook, bring a few different kinds along with you and see which one works best.

While many types of bait can be effective for bass fishing, one factor many inexperienced fishermen ignore is color. Fish don't see color the same way we do, and you have to take this into account when you choose your bait. Given that during the date you may experience a myriad of changes; you should have a lure to accommodate each one. Try to coordinate the lure with the climate and brightness of the day as is feasible. When present conditions are dull and gray; choose your lure to fit into that scene. Along the same lines, if your conditions are clear and sunlit, you should use a dazzling lure. Try to choose colors for your lures that resemble the type of baitfish that are in the area in which you're fishing. We've looked at some proven bass fishing techniques in this article, though it can be hard to generalize, as much depends on where you're fishing and the particular conditions of the day. You have the upper hand knowing where exactly you will find the fish you are looking for.

bass guitar artists

Double Neck Guitars: A Two In One Scenario

A double neck guitar looks like a set of Siamese twins. With two separate and distinct necks and a single, wider-than-average body, the instrument really does appear to be two independent entities joined by a common body. This description is, in fact, not too far from the truth. The benefit of the double neck guitar is that it essentially allows the musician access to more than one instrument at a time. To take the most common example, consider the typical double neck guitar. This instrument has one neck with twelve strings and one with six. The musician can, at any point during his or her performance, choose to switch between the two necks. This freedom of choice allows him or her to double the kind of music he or she can produce. Hence, to play the double neck guitar is to essentially play two instruments not simultaneously, but at least back-to-back.

The concept of the double neck guitar is not a new one. Instruments similar to this have been around for at least a few hundred years. A double neck version of the Russian guitar, for example, was popular in the beginning of the 19th century. Today, however, double neck guitars are generally Western-style electric instruments. As mentioned, the most common models have twelve strings on the top neck and six strings on the bottom. However, some versions have six strings on one neck and only four on the other. Fretted instruments are most common, but sometimes only one neck will be fretted and the other fretless. In fact, almost any combination of guitar characteristics is possible with these instruments. Some models eve have three, four or five necks. Such guitars only increase the variety of music that can be played on a “single” instrument.

Although double neck guitars have traditionally been simply standard electric guitars, bass instruments have gained popularity in recent years. Double neck bass guitars are often tuned differently, an approach that significantly widens the player’s range. Other models vary the use of frets or the number of strings. A more unusual approach is to have a double neck instrument with one neck set up as a standard electric guitar and the other set up as a bass guitar.

The double neck guitar is, needless to say, rather startling in appearance. This no doubt contributes to its popularity with a number of musicians in famous bands. After all, not only does the double neck guitar allow the artist to increase his musical variety, it also ensures that a great number of people will be staring at his instrument. These musicians are usually bassists, and they include Jimmy Page of Led Zeppelin, Joe Perry of Aerosmith, Slash of Guns N’ Roses, Richie Sambora of Bon Jovi and Eddie Van Halen of Van Halen.

It should be mentioned that while the harp guitar is a relative of the double neck guitar, the two instruments are not the same. The harp guitar features unstopped strings that are designed to be plucked like those of a harp. The double neck guitar’s strings, on the other hand, are invariably meant to be played like those of a guitar.

About the Author

Victor Epand is an expert consultant for guitars, drums, keyboards, sheet music, guitar tab, and home theater audio. You can find the best marketplace at these sites for guitars, double neck guitars, sheet music, guitar tabs, and home theater audio.

My name is mud on four string bass guitar?

I am trying to learn how to play the main bass line from the song My Name is Mud by Primus, so I went to ultimate-guitar.com to get the notes, only to realize how musically illiterate I am. =P I’m a descent Bassist once someone shows me or tells me how to do something, I just don’t get the notes. So I need a VERY detailed breakdown of the following. Please be as detailed as possible.
notes=

Song: My Name Is Mud
Artist: Primus
Tabbed By: Hillis

G:——————————
D:——————————
E:———2——-2——-2—0
B:–0h2-0h2-0h2-0h2—–0h2-0h2-

In The Chorus do some other crap for fun.

h stands for hammer on. basically, you’re playing open B string and after a moment, hold down the 2nd fret of the B string. i don’t know the timing of the song, but i’m sure it’s 4/4.

then, hold the 2nd fret on the E string and pluck BOTH the E and B string. after a moment, hold the 2nd fret. Your middle finger will alternate from E string then B string after the second note.

the third note, pluck the open B string, and hold BOTH B, pluck E and hold 2nd fret on E at the same time. it might be easier to hold both notes with your middle finger, but if you have better fingers, hold it with middle on B and ring on E.

4th note, pluck open B then hold 2nd fret.

5th note pluck E while holding 2nd fret. I’m guessing 6th note is repeating.

I would suggest listening to the song and try to catch the rhythm. It seems like the Chorus is open riffing.

BYOB by System of a Down (Bass Guitar only)

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3 Doors Down $94.47 Used – 3 Doors Down is an American rock band from Escatawpa, Mississippi, formed in 1996. Founded by Brad Arnold (vocals and drums), Matt Roberts (guitar), and Todd Harrell (bass). The band signed to Universal Records after the success of their song “Kryptonite.” The band has since sold well over 16 million records worldwide since their debut album, The Better Life, which was released in 2000. They also perform more than 300 concerts a year and have performed with other artists such as Lynyrd Sk

4 Women No Cry, Vol. 1 $15.99 Released by the excellent Monika label, this compilation — planned to be the first in a series — has a concept summed up in the title: four women from different countries, all known for working in electronic/dance styles, each contributing a slew of songs. Everyone’s tracks are grouped together, so the end result is more like a collection of four EPs, but the transitions between the artists are smoothly managed and the end result is a fine showcase for all four. Argentina’s Rosario Blefari begins the album, her “Partir y Renunciar” starting as a murky drone before adding a clattering, hollow beat and dub bass as the setting for her gentle singing and a touch of acoustic guitar. It’s a sharp blend that emphasizes the electronics first and foremost, as her other songs like “Nunca,” a slow, moody piece, and the concluding collage of beats and loops, “Vidriera Chilena,” make clear. Georgia’s Tusia Beridze follows with a series of six short, understated compositions, building on her earlier work well in its range from gentle chorales with whispered counterpoints (“Gorod”) to minimal torch songs (“Cuet”) and IDM cut-ups (“Late”). The sequence has the feeling of a late-night soundtrack to a cityscape, and works very well as a whole as well as song for song. Frenchwoman Eglantine Gouzy parallels Beridze in presenting six short pieces for her contribution, with the initial “Eglantine Longe” almost sounding like an extension of Beridze’s work. “Nurse Song” changes the tone with Gouzy’s semi-whispered/gasped singing and meditative blend of keyboards and what sounds a bit like harp, with the remainder of her work suggesting a vocal-added version of Boards of Canada’s playful explorations. Catarina Pratter brings the comp home to Germany at the end, alternating between shorter and longer tracks. The standout is “Dreamin of Love,” which sets a grumbling industrial buzz and steady beats underneath subtle, wistful vocals to create what could almost be a moder…

AC30CC2 Custom Classic Guitar Combo Amp (with Vox Custom Speakers) $1199 Why has the AC30 been an icon for decades? It's the amplifier's unique, warm tone, its player friendly "feel" and its primeval circuit design. With its straightforward "what you see is what you get" control format, the AC30 was a hit with artists from the very beginning. Back then, VOX owned the '60s "British invasion" and to this day the AC30 is widely used by all kinds of guitarists performing in a huge range of musical styles.With a number of modern enhancements including blendable channels, a true bypass FX loop, spring reverb and master volume, to name just a few, the AC30 Custom Classic is an evolution of the original that is sure to become a classic in its own right.Two blendable channels, a first Not only does the AC30 Custom Classic include two channels, it also offers the ability to blend those channels together (a first for the AC30!). The Top Boost Channel serves up that classic AC30 tone, while our new expanded Normal Channel now offers two modes, Normal and Bright, which allow you to achieve the sounds of an assortment of vintage AC30s. Use the channels individually or blend them together for increased tonal flexibility to create a unique sound and feel that's all your own.Control freaks rejoice! The AC30 Custom Classic is fully equipped with well thought out and easy to use controls. With a Custom/Normal EQ switch, Tone control and Dwell switch for the spring reverb, Master Volume, fully variable Tremolo on all channels and a true bypass Effects Loop, Vox thought of everything! They even included a switchable cathode resistor that lowers power output and increases tube life. Of course, the AC30 Custom Classic comes with standard controls like Treble, Bass, Tone, Volume, Standby and more.Valve/Tube Complement:(4) x EL84/6BQ5 (3) x 12AX7/ECC83 (1) x GZ34 Front panel controls:Inputs x 2 (Top Boost & Normal)Input Link Switch for blending channelsNormal VolumeBrilliance SwitchTop Boost VolumeTrebleEQ St

AC30CC2X Custom Classic Guitar Combo Amp (with Celestion Blue Speaker) $1799 Why has the AC30 been an icon for decades? It’s the amplifier’s unique, warm tone, its player friendly “feel” and its primeval circuit design. With its straightforward “what you see is what you get” control format, the AC30 was a hit with artists from the very beginning. Back then, VOX owned the ’60s “British invasion” and to this day the AC30 is widely used by all kinds of guitarists performing in a huge range of musical styles. With a number of modern enhancements including blendable channels, a true bypass FX loop, spring reverb and master volume, to name just a few, the new AC30 Custom Classic is an evolution of the original that is sure to become a classic in its own right! Two blendable channels, a first Not only does the AC30 Custom Classic include two channels, it also offers the ability to blend those channels together (a first for the AC30!). The Top Boost Channel serves up that classic AC30 tone, while the new expanded Normal Channel now offers two modes, Normal and Bright, which allow you to achieve the sounds of an assortment of vintage AC30s. Use the channels individually or blend them together for increased tonal flexibility to create a unique sound and feel that’s all your own. Control freaks rejoice! The AC30 Custom Classic is fully equipped with well thought out and easy to use controls. With a Custom/Normal EQ switch, Tone control and Dwell switch for the spring reverb, Master Volume, fully variable Tremolo on all channels and a true bypass Effects Loop, Vox has thought of everything! It even includes a switchable cathode resistor that lowers power output and increases tube life. Of course, the AC30 Custom Classic comes with standard controls like Treble, Bass, Tone, Volume, Standby and more. Multiple configurations Not only is the AC30 Custom Classic the most flexible AC30 to date, it comes in Vox’s most expansive array of models ever to cover a variety of needs and player preferences. AC30 Custom Classic Specifications:

Bass TAB White Pages – Music Book $29.99 Performed by: Various Artists: Bass TAB White Pages Music Book, scoring: Bass/Vocal/Chords;Bass/Vocal, instruments: Guitar;Voice;Bass;Bass Guitar; 1024 pages

Bixieland/Eddie Condon’s Treasury of Jazz $13.98 Few jazzmen active during the mid-’50s were more worthy of recording tributes to the era of classic jazz, just three decades distant, than Eddie Condon. Fitting, then, that two of his most interesting throwback dates, Bixieland and Eddie Condon’s Treasury of Jazz, were combined for this Collectables two-fer. The first includes ten of Bix Beiderbecke’s most popular features from the man who coined the most famous description of his style (“The sound came out like a girl saying yes”). Bobby Hackett takes onto his shoulders the heavy weight of living up to the legend’s cornet, a fitting assignment for the man briefly known as “the new Bix” only a few years after Beiderbecke’s death in 1931. Though a Dixieland date hardly need worry about artistic tension, Hackett performs admirably on versions of Beiderbecke’s best (“I’m Comin’ Virginia,” “Singin’ the Blues,” “Jazz Me Blues”), echoing the melodic clarity and quick decisions of Beiderbecke, framed by Condon and the all-stars. The second date was a tribute as well, the musical version of a book just published, featuring Condon’s salutes to some of his favorite jazz artists, including rarer choices like Lee Wiley and Turk Murphy as well as obvious ones like Duke Ellington and Louis Armstrong. The lineup features these songs well, combining Condon’s guitar with Wild Bill Davison on cornet, Pee Wee Russell or Edmond Hall on clarinet, Walter Page on bass, George Wettling on drums, and Cutty Cutshall on trombone. All in all, this reissue combines a pair of sessions playful, brash, and unassuming, welcome to fans of Dixieland jazz. ~ John Bush, Rovi

Bomb Factory Sans Amp PSA-1 – Tube Limiter Emulation Plug-Ins $395 The preferred choice of touring artists and recording professionals worldwide, the SansAmp PSA-1 provides the widest range of amplifier, harmonic generation, cabinet simulation, and equalization tone shaping options available. You’ve heard SansAmp on thousands of recordings, on everything from drums and bass to vocals and harmonica. Add warmth and punch to existing tracks, or record bass and guitar direct into Pro Tools the right way with the SansAmp XDI direct recording interface (available separately). Capture guitar free of muddy sound degradation or excess noise – then go digital and dial up any tone imaginable.

Bomb Factory Tech 21 SansAmp PSA1 Tube Amp Simulator Plug In (Pro Tools) $595 The preferred choice of touring artists and recording professionals worldwide, the SansAmp PSA-1 provides the widest range of amplifier, harmonic generation, cabinet simulation, and equalization tone shaping options available. You've heard SansAmp on thousands of recordings, on everything from drums and bass to vocals and harmonica. Add warmth and punch to existing tracks, or record bass and guitar direct into Pro Tools the right way with the SansAmp XDI direct recording interface (available separately). Capture guitar free of muddy sound degradation or excess noise then go digital and dial up any tone imaginable. IMPORTANT: Bomb Factory Tech 21 SansAmp Authorization requires an iLok USB smart key and the ability to access ilok.com from a computer. If you do not already own an iLok USB smart key, please see the Things You Need area on the right side of this page.Bomb Factory iLok AuthorizationsThe Avid Bomb Factory 4.0 and higher plug-ins have new iLok authorizations that are different from legacy Bomb Factory products. ILok authorizations for Bomb Factory versions 3.0 and earlier will not work with the new Avid Bomb Factory 4.0 and higher plug-in installers. Customers who own legacy versions of Bomb Factory plug-in authorizations and wish to obtain new iLok licenses (authorizations) for the Avid Bomb Factory 4.0 and higher plug-ins should visit the Bomb Factory Legacy Plug-ins page in the Support area for information on Bomb Factory updates and upgrades.

Classic Rock Bass Lines – Music Book $15.95 Performed by: Various Artists: Classic Rock Bass Lines Music Book, scoring: Instrumental Part;Instrumental Solo;Bass Tab, instruments: Guitar;Bass Guitar;Bass; 120 pages

Crossword Puzzle $7.99 Crossword Puzzle was the eighth LP from the Partridge Family — a multimedia, made-for-TV project that hit marketing pay dirt learning lessons from the success of the Monkees’ manufactured origins, as well as the real-life pop/rock family the Cowsills. As a weekly prime time sitcom, The Partridge Family ran on ABC-TV from September 25, 1970, through August 31, 1974. As musical artists, they further mimicked the Monkees’ phenomenon by having primary cast members — in this case, Shirley Jones (vocals) and David Cassidy (vocals) — as the group’s lead vocalists. Accompanying Cassidy and Jones was a veritable who’s who of studio heavyweights such as Hal Blaine (drums), Larry Carlton (guitar), Joe Osborne (bass), and Larry Knechtel (keyboards). They were joined by the painfully sweet backing vocals of the six-member Love Generation, who participated to some degree on every one of the Partridge Family’s LPs. Judging by not only the lackluster chart performance (number 146), but also the complete absence of a 45 rpm single in the States, it is fair to say all remaining vestiges of Partridge-mania were becoming significantly depleted. For the most part, the formulaic unaffected pop song style of Wes Farrell, Terry Cashman, and Tommy West had grown stale. In fact the best material on Crossword Puzzle comes from Tony Romeo’s lush emotive ballad “As Long as There’s You,” which points in the direction of Cassidy’s solo efforts. Of the lighter fare, another Romeo tune, “It Means I’m in Love With You,” has an airy bubblegum lilt that glides through the catchy melody. These highlights detract from the simply awful “Let Your Love Go” or the half-baked “It’s a Long Way to Heaven” — both of which are little more than mediocre filler. [In 2003, Crossword Puzzle (1973) was issued on CD with informative liner notes as well as a reproduction of the original "novelty" LP jacket, a signature of Partridge Family releases.] ~ Lindsay Planer, Rovi

Dust $24.98 The first album from Dust is interesting on many levels. The rhythm section featured drummer Marc Bell, who would later join New York punk rockers Richard Hell & the Voidoids, while bassist Kenny Aaronson would sign on with labelmate Stories on the group’s third album, as Ian Lloyd moved from bass/vocals to complete frontman. The songwriting team of producer Kenny Kerner and singer/guitarist Richie Wise would go on to produce the third Stories album, making this Dust debut and its follow-up an important piece of the Stories puzzle. Wise’s lead vocals on Dust were decent enough to complement his very competent guitar playing; Wise would eventually get hired as A&R man at Scotti Brothers Records. This record is not only the document of a record executive/producer as recording artist, but of musicians who would go on to do more substantial work in the industry. “Stone Woman,” with its shimmering slide guitar work from Aaronson, would’ve fit perfectly on a Leslie West record. What Dust was all about is kind of difficult to get a handle on. A hard rock band for sure, and certainly spirited; the listener has to wonder if the group is successful when progressive, or if things might be better served by staying on the straight and narrow. “Chasin’ Ladies” sports a real cool riff and pretty eerie vocal by Wise, while the one song contributed by Aaronson, “Loose Goose,” becomes an endless jam. Wise emulates Greg Lake of ELP and, despite the good try, had Dust kept to the poppy influences all these musicians had in them, the group might have had a better chance at success. Kama Sutra, after all, had the Lovin’ Spoonful and Sopwith Camel, artists who charted with pop music on the Top 40. For their image, Dust used a photo from the catacombs on the front cover and a camel in the desert on the back. It’s an amalgam of hard rock and progressive sounds from co-producer Kerner, who would go on to produce hits for Gladys Knight and edit The Music Connection magazine. Interest…

EP $9.99 Based on its length (just under half an hour), Will Kimbrough’s self-titled offering in 2007 is either a really short album or a very long EP. It is billed as the latter, and given how much session work Kimbrough does as a guitarist for country artists, it’s entirely possible he didn’t have time to put together more than these eight songs. They are enough, however, to whet the appetite of any curious listener and leave any serious fan salivating for more. Though the term “Americana” is the kiss of death for most artists these days (because it would appear to be a catchall that doesn’t fit anywhere else), Kimbrough’s music comes right from the heart of traditional American song forms: Appalachian balladry, raw bluegrass, hillbilly blues, rock & roll, and folk songs. The contrast between the guitars and cello of the bluesy back-porch “Eden Prairie” and the sheer folk waltz of “Interstate,” with guitar, mandolin, brushed drums, and upright bass, are two cases in point. “Horseshoe Lake” may be played on acoustic guitars, mandos, upright bass, and cello, but it walks through the same kind of singer/songwriter rock Bruce Springsteen delved into on Tunnel of Love — without the slick production. “Yellow Mama” is a shimmering primitive ballad with beautiful slide guitar and banjo work. It’s a prayer, a protest song, and a criminal ballad, all rolled into one. “Half a Man,” a midtempo shuffling acoustic ballad with a full band, sounds utterly lush in comparison to its predecessors. The closer, “Love Is the Solution,” with its lonesome strings and spoken word lyric, is a blues from a different era. Its message is profound, spelled out in simple terms that could have been written by Tom Russell, and shows his influence. It’s hard to tell where a recording like this one might drop — and hopefully not into obscurity. These are wonderfully written and executed songs: sparse yet full of literacy, emotion, and a primitive’s attitude to modern invention, though th…

Fender® 60th Anniversary Precision Bass® Guitar – Blackguard Blonde $1499.99 Since its birth in 1951, the Fender? Precision Bass? Guitar has redefined popular music, and continues to in the hands of contemporary artists worldwide. The 60th Anniversary Precision Bass? guitar embodies six decades of Fender? bass legacy in a collectible U.S.-made instrument. Features include an ash body, maple neck and fretboard with modern 9.5″ radius and medium jumbo frets, vintage Precision Bass? split single-coil pickup, modern tuners, high-mass vintage bridge, knurled control knobs, black pickguard, Blackguard Blonde thin-skin lacquer finish, commemorative neckplate, and Fender/SKB molded case.-Specifications: -Body Material: Ash-Body Shape: Precision Bass-Body Finish: Thinskin Lacquer Body Finish-Neck Shape: Modern “C” Shape -Number of Frets: 20 -Fret Size: Medium Jumbo -Position Inlays: Black Dot Position Inlays -Fingerboard Radius: 9.5″ (24.1 cm) -Fretboard: Graphite Reinforced Maple -Neck Finish: Lacquer -Nut Width: 1.625″ (41.3 mm) -Scale Length: 34″ (86.36 cm) -Neck Plate: 4-Bolt Neck Plate -Truss Rods: Posiflex Graphite Neck Support Rods -Truss Rod Nut: 3/16″ Adjustable Hex Nut -Pickup Configuration: Single Split-Coil Pickup -Middle Pickup: Vintage Precision Bass? Split Single-Coil Pickup -Controls: Master Volume, Master Tone -Hardware Finish: Chrome -Bridge: HMV, High Mass Vintage, (Strings-Thru-Body or Topload) -Tuning Machines: Fender/Hipshot Vintage Keys with Tapered Shafts -String Nut: Synthetic Bone -Truss Rod Wrench: 3/16″ “T-Style” Ball-End Hex (Allen) Wrench -Saddle Height Wrench: 1/16″ Hex (Allen) Wrench -Unique Features: Thinskin Lacquer Finish, Vintage Style Pickups, 60th Anniversary Neckplate-Accessories: -Case Gig Bags: Molded Rectangular Fender/SKB Case -Pickguard: 3-Ply Black/White/Black -Included Accessories: Fender/SKB Case, Cable, Strap, Polishing Cloth -Polishing Cloth: Polishing Cloth Included -Control Knobs: Knurled chrome

Flood $14.99 Swamp blues twosome Moreland & Arbuckle, with assistance from drummer Brad Horner, graduate to the relative big time with their debut for the high-profile Telarc label. The hundreds of one-night stands in dingy blues clubs and as support for other roots artists yield a tough, no-nonsense set that barrels through 50 minutes of highly charged Delta-styled blues and blues-rock. Like Billy Gibbons, guitarist Aaron Moreland gets a lot of gritty sound out of his guitar, in his case a custom cigar box contraption with three guitar strings and two bass strings. A bassist contributes to three tracks, but Moreland’s attack is so powerful that he doesn’t need the help. Singer/harpist Dustin Arbuckle blows like a combination of Little Walter (whose “Hate to See You Go” is one of the album’s few covers), Paul Butterfield, and Jason Ricci; in other words, plugged in and spitting blood. He’s also become a convincing singer with a dynamic and powerful voice able to infuse emotion into the few ballads that provide a brief respite from the locomotive attack. His emotive croon on the acoustic “Your Man Won’t Ever Know” is spooky and threatening. Less successful is the standard Chicago groove of “Don’t Wake Me,” a by-the-numbers shuffle that changes the disc’s more raucous tempo but doesn’t take the band, augmented by a pianist on the track, anywhere others haven’t already been. But you’re never far from a blistering, midtempo Mississippi blues like “In the Morning I’ll be Gone,” where the guitar and harp lock together on a grinding riff, then skirt around each other until the chorus. Moreland’s banjo on the closing “Can’t Get Clear” (an earlier creeping six-minute electric version is another album highlight) shows that he’s far from a one-trick guitar pony. The band veers into acoustic country dirt on “Can’t Leave Well Enough Alone” and “Red Moon Rising.” Both changeups complement the more rugged, plugged-in territory plowed on the majority of this impressive disc. Th…

Guitar Hero On Tour : Decades – Nintendo DS $28.99 Travel back through time and rock on with the latest portable Guitar simulator. Guitar Hero On Tour : Decades features sets of five songs out of a total of twenty-eight tracks. Each set focuses on a specific era of rock music, including two called “2000″ and “Modern”. Each set has a specialized venue for the era. Seven songs are taken from Guitar Hero World Tour.–Shred to classic songs from the ’70s, ’80s, ’90s and today. Play in exclusive, brand new venues set through the course of history, inspired by the most important rock trends of the last 40 years-Mastering the tracks – Rock out to the biggest selection of music ever on DS, with all master tracks from the defining artists of their era including Fall Out Boy, Linkin Park, Red Hot Chili Peppers, Bon Jovi, REM, Queen and many more-Customizable characters – Rock out with outfits from throughout the ages, defining the best and most outrageous clothing trends in rock history-Choose your path – Play through any one of three different career paths each with their own story: Lead Guitar, Bass Guitar, and Guitar Duel-Play single-player career, quickplay or Guitar Duel modes-Play co-operatively or compete head-to-head in local wireless play in Face-Off, Pro-Face Off, or Guitar Duels; blow into the Microphone to extinguish a pyrotechnics effects gone wrong, or use the touch screen to autograph a fan?s shirt in the middle of your set-Rock out anytime, anywhere -take the Guitar Hero experience wherever you go. The Guitar Hero Guitar Grip is an Ergonomic extension that mimics a guitar fret board and fits seamlessly in your hands to deliver the same core gameplay that defines Guitar Hero-Strum with the stylus – Included with the game is a Guitar Hero pick-stylus that allows you to strum away in style on the touch-activated screen of the DS

Guitar Praise $115.4 Used – Jam with the band! Grab the guitar and play along with top Christian bands! Shred those riffs or blast the bass x2026;you add a unique sound to the solid Christian rock. But watch out: if you can’t keep up, the artists will take a break and stop the music. Crank it up and try again – you’ll soon be rockin’ with the best while praising the Lord! For entire family (ages 4 and up).

Guitar Praise $115.4 New – Jam with the band! Grab the guitar and play along with top Christian bands! Shred those riffs or blast the bass x2026;you add a unique sound to the solid Christian rock. But watch out: if you can’t keep up, the artists will take a break and stop the music. Crank it up and try again – you’ll soon be rockin’ with the best while praising the Lord! For entire family (ages 4 and up).

Guitar Praise $79.48 New – Jam with the band! Grab the guitar and play along with top Christian bands! Shred those riffs or blast the bass x2026;you add a unique sound to the solid Christian rock. But watch out: if you can’t keep up, the artists will take a break and stop the music. Crank it up and try again – you’ll soon be rockin’ with the best while praising the Lord! For entire family (ages 4 and up).

Guitar Praise $80.38 Used – Jam with the band! Grab the guitar and play along with top Christian bands! Shred those riffs or blast the bass x2026;you add a unique sound to the solid Christian rock. But watch out: if you can’t keep up, the artists will take a break and stop the music. Crank it up and try again – you’ll soon be rockin’ with the best while praising the Lord! For entire family (ages 4 and up).

Heavy & Funk Bass Techniques $15.73 Used – T.M. Stevens’ combination of rock, funk, and everything in between is like no other. A longtime session player who has worked with artists such as James Brown, Joe Cocker, and Billy Joel, Stevens is one of the most respected bass players in the industry. In this video, he explores his unique style of playing, going in-depth into his approach to the bass guitar. Stevens covers all the bases as he takes you on a wild journey into his world of heavy metal funk. Topics include: holding the ba

Heavy & Funk Bass Techniques $21.44 Used – T.M. Stevens’ combination of rock, funk, and everything in between is like no other. A longtime session player who has worked with artists such as James Brown, Joe Cocker, and Billy Joel, Stevens is one of the most respected bass players in the industry. In this video, he explores his unique style of playing, going in-depth into his approach to the bass guitar. Stevens covers all the bases as he takes you on a wild journey into his world of heavy metal funk. Topics include: holding the ba

Hello Young Lovers $14.98 Why it is that after years or even decades some artists continue to thrill and entertain while others just burn out badly is one of those great mysteries, but in the example of Ron and Russell Mael, aka Sparks, they’re firmly in the former category. Hello Young Lovers is their 20th studio album in 35 years, not to mention one of their best. Following on from their enjoyable all-classical instrumentation experiment, Lil’ Beethoven, Sparks take their cue here from the album’s one song that added full rock band instrumentation to all the strings, “Ugly Guys with Beautiful Girls.” The resulting fusion on Hello Young Lovers — with the brothers and drummer Tammy Glover now accompanied full-time by former touring guitarist Dean Menta, along with Redd Kross’ Steve McDonald guesting on bass and Jim Wilson on guitar — audibly harks back to the U.K. glam era of the band but crucially does not simply replicate it. Instead, it’s as close to a full m? lange of all the band’s various sounds thus far over the years, as Lil’ Beethoven’s orchestral swoops are shot through with feedback and subtler hints of the various dance incarnations of the duo. Opening track “Dick Around,” with its rapidly ascending and descending melodies, absolutely precise performance (Russell’s voice continues to be one of the best ever in the field while Ron’s ear for immediate but busy-as-heck hooks similarly hasn’t gone stale), and back-and-forth arrangements between strings and guitar is a tour de force on its own, not to mention showing that the trademark Mael misanthropic wit remains fully intact. From there, Hello Young Lovers is off to the races, with only a tiny misstep or two along the way (“Here Kitty” is cute but slight, “Metaphor” takes a while to connect fully). First single “Perfume” is a delight, a finger-snapping swing of a song that’s still very 21st century, with a classic Russell spoken word break to boot. Other highlights include the outrageous “(Baby Baby) Can I Invade Yo…

Jimi Hendrix – Stone Free* $1.57 Used – Matching folio to this tribute album featuring today’s hottest artists performing their favorite Hendrix tunes. Guitar and bass transcriptions to 14 classics, including: Stone Free (Eric Clapton) * Manic Depression (Seal and Jeff Beck) * Crosstown Traffic (Living Colour) * Third Stone From The Sun (Pat Metheny) * and more.

Jimi Hendrix – Stone Free* $5.39 Used – Matching folio to this tribute album featuring today’s hottest artists performing their favorite Hendrix tunes. Guitar and bass transcriptions to 14 classics, including: Stone Free (Eric Clapton) * Manic Depression (Seal and Jeff Beck) * Crosstown Traffic (Living Colour) * Third Stone From The Sun (Pat Metheny) * and more.

KTL $16.99 Prior to stumbling upon the project’s debut release, how many people are likely to know the work of both artists who formed KTL? Not so many, probably, since they come from such different music circles. Note the last word: circles. They work in different fields, but their music is highly compatible, as KTL reveals. Guitarist Stephen O’Malley is one half of black metal extremists Sunn 0))). Peter Rehberg is the computer music maverick known as Pita, pioneer of glitch music and sculptor of harsh digital sounds. The two of them started working together for a theater production by Gis? le Vienne and Dennis Cooper, Kindertotenlieder. The label’s press release emphatically stresses the point that KTL the album is not that production’s soundtrack but a separate project (although the abbreviation would stand for Kindertotenlieder). The album delivers 77 minutes of electricity-packed soundscapes. The four-part “Forest Floor” is a sonic assault of digital textures and fast-strummed guitar chords moving up and down the neck. The piece is very dark and relentless, but it remains bearable. After all, KTL do not stack up the decibels into a wall of sound like, say, Merzbow. Instead, faithful to Sunn 0)))’s m.o., the duo’s music is very active in the low end and rarely goes up screaming in the high end. “Forest Floor” (40 minutes in all) is sandwiched between two quieter tracks. The opening “Estranged” (25 minutes) features Rehberg rumbling in the sub-bass register while O’Malley occasionally cuts through with short interventions on guitar, more in a free improv style. The concluding “Snow” (13 minutes) is even more unusual: Rehberg sticks to quiet ambient textures, while O’Malley plays some delicate feedback and prepared guitar, evoking the ghost of Derek Bailey taking hold of Thurston Moore’s body. Overall, that track leans more toward Rehberg’s usual sound world, while the rest of the album bears more resemblance to Sunn 0)))’s universe. KTL is a long-winded effort, …

Kenny Burrell & John Coltrane $11.99 For his final Prestige-related session as a sideman, John Coltrane (tenor sax) and Kenny Burrell (guitar) are supported by an all-star cast of Paul Chambers (bass), Jimmy Cobb (drums), and Tommy Flanagan (piano). This short but sweet gathering cut their teeth on two Flanagancompositions, another two lifted from the Great American Songbook, and a Kenny Burrell original. Flanagan’s tunes open and close the album, with the spirited “Freight Trane” getting the platter underway. While not one of Coltrane’s most assured performances, he chases the groove right into the hands of Burrell. The guitarist spins sonic gold and seems to inspire similar contributions from Chambers’ bowed bass and Coltrane alike. Especially as the participants pass fours (read: four bars) between them at the song’s conclusion. The Gus Kahn/Ted Fio Rito standard “I Never Knew” frolics beneath Burrell’s nimble fretwork. Once he passes the reigns to Coltrane, the differences in their styles are more readily apparent, with Burrell organically emerging while Coltrane sounds comparatively farther out structurally. Much of the same can likewise be associated to Burrell’s own “Lyresto,” with the two co-leads gracefully trading and incorporating spontaneous ideas. While not as pronounced, the disparity in the way the performance is approached is a study in unifying and complementary contrasts. The delicate “Why Was I Born” is one for the ages as Burrell and Coltrane are captured in a once-in-a-lifetime duet. Together they weave an uncanny and revealing sonic tapestry that captures a pure and focused intimacy. This, thanks in part to the complete restraint of the ensemble, who take the proverbial “pause for the cause” and sit out. What remains is the best argument for the meeting of these two jazz giants. The performance can likewise be located on the various-artists Original Jazz Classics: The Prestige Sampler (1988) and Playboy Jazz After Dark (2002) and is worth checking out, regardless of w…

Kicking a Dead Pig: Mogwai Songs Remixed + Fear Satan Remixes $13.99 Mogwai get translated and abused in various ways in this collection of remixes. Whether it’s industrial, dance, or something altogether left field, the 12 remixes on Kicking a Dead Pig and the bonus CD, Fear Satan Remixes, take Mogwai to various new places, for better or worse. Remixes faring best are from Hood, Max Tundra, Third Eye Foundation, and Kid Loco. Remixers seemingly out of their minds at the time or simply collecting paychecks are Klute, Arab Strap, ? ? -Ziq, and My Bloody Valentine. ? ? -Ziq is known to show inspired disregard for songs during his remixes, but he turns “Fear Satan” into a grating mess. Kevin Shields suggests that he’s probably run out of ideas for good in his My Bloody Valentine-monikered reworking. He was always known for noise freakouts, but that was in a live setting. On CD, it just sounds sloppy. Still, the joy to be found makes the misfires somewhat bearable. Hood’s contribution introduces interesting sonic shifts and gritty guitar dynamics. Max Tundra’s interpretation sounds alternately like violins tuning-up and ticking electronics, as plucked guitars and organic industrial sounds blend quite nicely. Kid Loco’s remix is perhaps the most accessible, as dub textures and chiming sound effects approach something that might be called touching. Too many of the remixers add dance beats, making one wonder why a disco ball wasn’t included in the gatefold case; seeing as how many of these remixes were done in the dying days of drum’n'bass, one has to forgive the artists for jumping a rickety bandwagon. Kicking a Dead Pig + Fear Satan Remixes isn’t nearly as challenging or rewarding as one would expect, and thus not worth many repeat listens. ~ Tim DiGravina, Rovi

Kona Town $14.98 From Blondie to the Police to the Clash, plenty of rockers have been influenced by reggae over the years — and that isn’t counting all the ska-punk bands that emerged in the ’80s and ’90s. Pepper certainly isn’t the first band to blend alternative rock, punk, and reggae, but while the Hawaiian trio’s second album, Kona Town, isn’t groundbreaking, it is definitely above average — not to mention quite likable. Although not innovative, Pepper isn’t one of those faceless, cookie-cutter ska-punk combos that sets out to emulate the Mighty Mighty Bosstones, but isn’t nearly as impressive. Pepper is smart enough to do its own thing, and that means having an attractive sound that could be described as the Police by way of Steel Pulse by way of punk-pop. Overall, the tunes on this Steve Kravac-produced disc are memorable; when accessible tunes like “B.O.O.T” and “The Good Thing” are playing, one cannot help but admire Pepper’s sense of melody. This trio doesn’t use angst for the sake of angst to grab your attention — Pepper obviously sees the value of a memorable hook and a straightforward, easy-to-absorb melody. It is clear that Pepper’s three members have spent a lot of time listening to ’70s and early-’80s reggae; although Bret Bollinger (bass, vocals), Kaleo Wassman (guitar, vocals), and Yesod Williams (drums) belong to rock’s post-Baby Boomer generation, this CD recalls a time when many punk and new wave artists were seriously checking out reggae greats like Dennis Brown, Burning Spear, and Peter Tosh. Kona Town isn’t recommended to reggae purists, but those who hold alternative rock, punk, and reggae in equally high regard will find a lot to appreciate about this release. ~ Alex Henderson, Rovi

Lessons with the Greats — Bass Guitar: Book & CD $4.99 Used – Six major artists share their vast knowledge and experience in jazz, rock, funk, fusion and Latin bass. Lincoln Goines, Jimmy Haslip, Alphonso Johnson, Rocco Prestia, Gary Willis, and Victor Wooten cover laying down a groove, thumb playing and popping, improvising, expanding your jazz vocabulary and mastering modern harmonic and melodic concepts.

Lessons with the Greats — Bass Guitar: Book & CD $7.79 Used – Six major artists share their vast knowledge and experience in jazz, rock, funk, fusion and Latin bass. Lincoln Goines, Jimmy Haslip, Alphonso Johnson, Rocco Prestia, Gary Willis, and Victor Wooten cover laying down a groove, thumb playing and popping, improvising, expanding your jazz vocabulary and mastering modern harmonic and melodic concepts.

Mance Lipscomb concert at Ash Grove on 04 Dec 64 $12.98 Decades prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was, among many other styles, singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he rejected the categorization, preferring to be classified as a “songster,” which reflected the diversity of his wide-ranging repertoire. This great diversity and his intricate guitar work made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, he began playing guitar and before long was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists like Blind Lemon Jefferson, Blind Willie Johnson, and the groundbreaking country star, Jimmie Rogers. A traveling performer invited Lipscomb to go on the road as far back as 1922, but he declined touring invitations until the blues revival of the late 1950s and early 1960s, rarely leaving home. Although he performed often, mo

Mance Lipscomb concert at Ash Grove on 05 May 66 $12.98 Years prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he himself rejected this categorization, preferring to be classified as a “songster,” which reflected the great diversity of his wide-ranging repertoire. This diversity and his intricate guitar work is what made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas, as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, Mance himself began playing guitar. Before long he was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists such as Blind Lemon Jefferson and Blind Willie Johnson, as well as the groundbreaking country star Jimmie Rogers. Although a traveling performer invited Lipscomb to go on the road in 1922, he declined the invitation and until the blues revival of the late 1950s and early 1960s, rarely left home and most of his live performan

Mance Lipscomb concert at Ash Grove on 05 May 66 $12.98 Years prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he himself rejected this categorization, preferring to be classified as a “songster,” which reflected the great diversity of his wide-ranging repertoire. This diversity and his intricate guitar work is what made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas, as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, Mance himself began playing guitar. Before long he was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists such as Blind Lemon Jefferson and Blind Willie Johnson, as well as the groundbreaking country star Jimmie Rogers. Although a traveling performer invited Lipscomb to go on the road in 1922, he declined the invitation and until the blues revival of the late 1950s and early 1960s, rarely left home and most of his live performan

Mance Lipscomb concert at Ash Grove on 06 May 66 $8.98 Years prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he himself rejected this categorization, preferring to be classified as a “songster,” which reflected the great diversity of his wide-ranging repertoire. This diversity and his intricate guitar work is what made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas, as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, Mance himself began playing guitar. Before long he was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists such as Blind Lemon Jefferson and Blind Willie Johnson, as well as the groundbreaking country star Jimmie Rogers. Although a traveling performer invited Lipscomb to go on the road in 1922, he declined the invitation and until the blues revival of the late 1950s and early 1960s, rarely left home and most of his live performan

Mance Lipscomb concert at Ash Grove on 06 May 66 $9.98 Years prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he himself rejected this categorization, preferring to be classified as a “songster,” which reflected the great diversity of his wide-ranging repertoire. This diversity and his intricate guitar work is what made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas, as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, Mance himself began playing guitar. Before long he was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists such as Blind Lemon Jefferson and Blind Willie Johnson, as well as the groundbreaking country star Jimmie Rogers. Although a traveling performer invited Lipscomb to go on the road in 1922, he declined the invitation and until the blues revival of the late 1950s and early 1960s, rarely left home and most of his live performan

Mance Lipscomb concert at Ash Grove on 06 May 66 $12.98 Years prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he himself rejected this categorization, preferring to be classified as a “songster,” which reflected the great diversity of his wide-ranging repertoire. This diversity and his intricate guitar work is what made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas, as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, Mance himself began playing guitar. Before long he was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists such as Blind Lemon Jefferson and Blind Willie Johnson, as well as the groundbreaking country star Jimmie Rogers. Although a traveling performer invited Lipscomb to go on the road in 1922, he declined the invitation and until the blues revival of the late 1950s and early 1960s, rarely left home and most of his live performan

Mance Lipscomb concert at Ash Grove on 07 Jul 63 $12.98 Years prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he himself rejected this categorization, preferring to be classified as a “songster,” which reflected the great diversity of his wide-ranging repertoire. This diversity and his intricate guitar work is what made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas, as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, Mance himself began playing guitar. Before long he was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists such as Blind Lemon Jefferson and Blind Willie Johnson, as well as the groundbreaking country star Jimmie Rogers. Although a traveling performer invited Lipscomb to go on the road in 1922, he declined the invitation and until the blues revival of the late 1950s and early 1960s, rarely left home and most of his live performan

Mance Lipscomb concert at Ash Grove on 07 May 66 $12.98 Years prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he himself rejected this categorization, preferring to be classified as a “songster,” which reflected the great diversity of his wide-ranging repertoire. This diversity and his intricate guitar work is what made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas, as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, Mance himself began playing guitar. Before long he was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists such as Blind Lemon Jefferson and Blind Willie Johnson, as well as the groundbreaking country star Jimmie Rogers. Although a traveling performer invited Lipscomb to go on the road in 1922, he declined the invitation and until the blues revival of the late 1950s and early 1960s, rarely left home and most of his live performan

Mance Lipscomb concert at Ash Grove on 08 May 66 $12.98 Years prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he himself rejected this categorization, preferring to be classified as a “songster,” which reflected the great diversity of his wide-ranging repertoire. This diversity and his intricate guitar work is what made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas, as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, Mance himself began playing guitar. Before long he was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists such as Blind Lemon Jefferson and Blind Willie Johnson, as well as the groundbreaking country star Jimmie Rogers. Although a traveling performer invited Lipscomb to go on the road in 1922, he declined the invitation and until the blues revival of the late 1950s and early 1960s, rarely left home and most of his live performan

Mance Lipscomb concert at Ash Grove on 10 Feb 72 $12.98 Years prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he himself rejected this categorization, preferring to be classified as a “songster,” which reflected the great diversity of his wide-ranging repertoire. This diversity and his intricate guitar work is what made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas, as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, Mance himself began playing guitar. Before long he was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists such as Blind Lemon Jefferson and Blind Willie Johnson, as well as the groundbreaking country star Jimmie Rogers. Although a traveling performer invited Lipscomb to go on the road in 1922, he declined the invitation and until the blues revival of the late 1950s and early 1960s, rarely left home and most of his live performan

Mance Lipscomb concert at Ash Grove on 20 Jul 63 $12.98 Years prior to the blues being recognized as a commercially viable genre, Texan Mance Lipscomb was singing and playing the blues. The most accomplished of the “dead-thumb” guitarists, Lipscomb’s propulsive bass lines anchored his dance-like, spontaneous melodies. A consummate country blues style fingerpicker, the music of Lipscomb is a pathway to discovering a musical culture of the early 20th century that has had a profound influence ever since. Although Lipscomb most certainly played the blues, he himself rejected this categorization, preferring to be classified as a “songster,” which reflected the great diversity of his wide-ranging repertoire. This diversity and his intricate guitar work is what made Lipscomb stand out from other Southern blues performers. His recordings were rooted in both white and black song and dance forms that not only included blues forms, but ballads, waltzes, children’s songs, jigs, reels, and polkas, as well as styles Lipscomb himself coined descriptions for, such as the buzzard lope, cakewalk, slow drag, and ballin’ the jack. Popular, sacred, and secular songs were all part of the mix. Born into a musical family in 1895 near Navasota, the son of an ex-slave and a half Choctaw Indian mother, Lipscomb spent much of his life as a tenant farmer in his home state of Texas. Both of Lipscomb’s brothers were guitarists, his dad played fiddle and his uncle banjo. By age 11, Mance himself began playing guitar. Before long he was accompanying his father at local events and dances. Unlike many of his contemporaries, Lipscomb did not record during the early blues era, but he had direct exposure to early Texas recording artists such as Blind Lemon Jefferson and Blind Willie Johnson, as well as the groundbreaking country star Jimmie Rogers. Although a traveling performer invited Lipscomb to go on the road in 1922, he declined the invitation and until the blues revival of the late 1950s and early 1960s, rarely left home and most of his live performan

More Accelerate Your Bass Playing for Bass Guitar (DVD) Anthony Vitti $23.7 This DVD will help take your playing to the next level. Professor Anthony Vitti shares his proven method for improving the fundamental skills required to freely express yourself on the bass in many musical styles. Professor Vitti is a graduate of the Berklee College of Music and has been teaching there since 1990. He is known for his contemporary style of playing, particularly for knowledge and instruction in slap bass, fingerstyle R&B, and sightreading. He has played all along the East Coast with a variety of artists including Sammy Davis, Jr., Liberace, Toy Caldwell, Steve Smith, and Blues Saraceno, and currently tours with Herb Reed & the Platters. This DVD offers easy-to-understand exercises and demonstrations that can be applied to all levels and styles. These include: scale and sol-Feg improvisation and rhythm studies slap bass technique fingerstyle groove. Clear and detailed instruction is given both onscreen and in the accompanying booklet. 60 minutes.

Mumford $39.53 Used – Mumford & Sons are an English folk rock band from London. The band is made up of Marcus Mumford (vocals, guitar, drums, mandalin), Winston Marshall (vocals, banjo, dobro), Ben Lovett (vocals, keyboards, organ), Ted Dwane (vocals, double bass). They formed in late 2007, rising out of London’s folk scene with other artists such as Laura Marling, Johnny Flynn, Jay Jay Pistolet and Noah and the Whale. The band have often supported Laura Marling at concerts, while their association with Noah a

Mumford $28.89 Used – Mumford & Sons are an English folk rock band from London. The band is made up of Marcus Mumford (vocals, guitar, drums, mandalin), Winston Marshall (vocals, banjo, dobro), Ben Lovett (vocals, keyboards, organ), Ted Dwane (vocals, double bass). They formed in late 2007, rising out of London’s folk scene with other artists such as Laura Marling, Johnny Flynn, Jay Jay Pistolet and Noah and the Whale. The band have often supported Laura Marling at concerts, while their association with Noah a

Next Stop… Soweto, Vol. 3 $17.98 In closing out the Next Stop… Soweto series, Strut examines the jazz scene from South Africa. Elements of bebop and cool jazz lead the way on Mankunku Quartet’s “Dedication (To Daddy Trane and Brother Shorter),” whose loose arrangements and tight playing are a highlight of the set. Midway through the jam session, Agrippa Magwaza on bass) and Lionel Pillay (on piano) really take over for some beautiful back-and-forth work. Magwaza plucks rhythmically to keep tempo while Pillay covers a wide range of notes on the right half of his keyboard. The Malombo Jazz Makers similarly have great chemistry in the breezy “Sibathathu” on guitar and drums. Notably missing is a snare, as nearly all of the drum work is on the toms. It creates a joyous mood with Lucky Ranku’s guitar strumming, which is playful and celebratory. While the song itself is short at not even three-minutes long, the mood it creates eclipses that mark immensely. Clocking in at nearly 16 minutes is Batsumi’s opus “Itumeleng.” Largely hypnotic, the track jumps into a more frantic ending, with nearly 20 seconds of its final minute going into a spastic splurge before mellowing and fading.The liner notes are filled with an excellent recap of what it was like for these musicians during such an oppressive time in the country’s changing political environment. Scattered throughout the booklet are also album covers and studio session photographs, including a fantastic black-and-white of saxophonist Mankunku Ngozi puffing a cigarette left-handed while holding his instrument in his right. Many of the songs are indeed long jam sessions, as was usual for the fruitful ’60s and ’70s, hence the reason the music here is spread over two discs. The collection, though long, never overstays its welcome. The music itself fits in nicely with much of the jazz idiom prevalent at the time, regardless of region. For the most part, Next Stop is jazz being played by South Africans more than it is South African musicians trying …

Rapture of the Deep $24.98 Deep Purple’s 2005 album Rapture of the Deep generally maintains the quality of 2003′s surprisingly sturdy Bananas. It’s the second release from the re-energized lineup of vocalist Ian Gillan, guitarist Steve Morse, bass guitarist Roger Glover, drummer Ian Paice, and keyboardist Don Airey, who replaced the retired Jon Lord. The band’s comfort level has increased, and after nearly a decade onboard, Morse’s stamp is all over the place. At first, this guitar genius’ presence was noticeable because of what it lacked — the incredibly distinctive Fender Stratocaster electric guitar tone of Ritchie Blackmore. Thus, sometimes Deep Purple didn’t sound like Deep Purple. However, the variety of tones Morse incorporates in his style gives the pioneering heavy metal quintet more sonic weaponry. Airey’s long, respectable career as a journeyman keyboardist-for-hire pretty much guaranteed he would largely adopt Lord’s organ-based style, at least at first, but he has expanded his sound on Rapture of the Deep too. “Money Talks,” “Girls Like That,” and “Wrong Man” ride strong riffs and rhythms into decent grooves. “Rapture of the Deep” floats along on a lightly hypnotic wave. The mature ballad “Clearly Quite Absurd” has a lilting, controlled tempo, and it’s the biggest surprise on the album; Gillan’s singing is appropriately subdued while Airey’s piano supplies the beauty and Morse’s gradually ascending riffs toward the end build the tension. “MTV” is a vicious, bile-spewing, all-out attack on how the modern music industry treats classic rock/heritage artists, although in 2005 Deep Purple clearly appeals more to VH1 Classic than MTV. Initially, the song risks biting the hand that feeds by correctly criticizing classic rock radio for not playing new music by veteran artists. The last verse is a cannon blast that pummels clueless, uninformed disc jockeys who, during interviews, butcher artists’ names (“Mr. Grover ‘n’ Mr. Gillian”), get facts wrong (misinterpreting the …

Ratatat Remixes Vol. 2 $40.14 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Ratatat Remixes Vol. 2 is the second self-released remix album by the Brooklyn indie electronic rock duo Ratatat. It includes performances from hip-hop artists U.G.K., Notorious B.I.G., Jay-Z, Kanye West, and Z-Ro. Ratatat (pronounced rat-uh-tat) is a New York City electronic music duo consisting of Mike Stroud (guitar) and producer Evan Mast (bass, synthesizers)

Ratatat Remixes Vol. 2 $46.38 New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Ratatat Remixes Vol. 2 is the second self-released remix album by the Brooklyn indie electronic rock duo Ratatat. It includes performances from hip-hop artists U.G.K., Notorious B.I.G., Jay-Z, Kanye West, and Z-Ro. Ratatat (pronounced rat-uh-tat) is a New York City electronic music duo consisting of Mike Stroud (guitar) and producer Evan Mast (bass, synthesizers).

Ratatat Remixes Vol. 2 $57.44 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Ratatat Remixes Vol. 2 is the second self-released remix album by the Brooklyn indie electronic rock duo Ratatat. It includes performances from hip-hop artists U.G.K., Notorious B.I.G., Jay-Z, Kanye West, and Z-Ro. Ratatat (pronounced rat-uh-tat) is a New York City electronic music duo consisting of Mike Stroud (guitar) and producer Evan Mast (bass, synthesizers)

Ratatat Remixes Vol. 2 $64.8 New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Ratatat Remixes Vol. 2 is the second self-released remix album by the Brooklyn indie electronic rock duo Ratatat. It includes performances from hip-hop artists U.G.K., Notorious B.I.G., Jay-Z, Kanye West, and Z-Ro. Ratatat (pronounced rat-uh-tat) is a New York City electronic music duo consisting of Mike Stroud (guitar) and producer Evan Mast (bass, synthesizers).

Roscoe Beck IV Bass (3-Color Sunburst Maple Fingerboard) $2059.99 A highly acclaimed player whose name is synonymous with Austin, Texas, and who has worked with a diverse roster of artists ranging from Leonard Cohen to the Dixie Chicks and from Jennifer Warnes to Eric Johnson, Roscoe Beck knows a thing or two about providing serious bass groove and tone. The new Roscoe Beck Bass IV guitar is built to Becks exacting specs. It features a special Modern-Vintage select alder body, maple neck with assymetrical oval shape and Posiflex graphite neck support rods, maple or rosewood fingerboard, two Special Design side-by-side humbucking pickups, master tone control with push/pull mid-shaping feature, three-position blade switching and two mini-toggle coil switches that enable six further tonal combinations, a distictive three-ply parchment pickguard, a Fender four-saddle locking convertible bridge, knurled chrome control knobs, vintage strap buttons and Becks signature on the neck plate.

Roscoe Beck IV Bass (3-Color Sunburst Rosewood Fingerboard) $1699.99 A highly acclaimed player whose name is synonymous with Austin, Texas, and who has worked with a diverse roster of artists ranging from Leonard Cohen to the Dixie Chicks and from Jennifer Warnes to Eric Johnson, Roscoe Beck knows a thing or two about providing serious bass groove and tone. The new Roscoe Beck Bass IV guitar is built to Becks exacting specs. It features a special Modern-Vintage select alder body, maple neck with assymetrical oval shape and Posiflex graphite neck support rods, maple or rosewood fingerboard, two Special Design side-by-side humbucking pickups, master tone control with push/pull mid-shaping feature, three-position blade switching and two mini-toggle coil switches that enable six further tonal combinations, a distictive three-ply parchment pickguard, a Fender four-saddle locking convertible bridge, knurled chrome control knobs, vintage strap buttons and Becks signature on the neck plate.

Roscoe Beck IV Bass (Crimson Red Transparent Maple Fingerboard) $2059.99 A highly acclaimed player whose name is synonymous with Austin, Texas, and who has worked with a diverse roster of artists ranging from Leonard Cohen to the Dixie Chicks and from Jennifer Warnes to Eric Johnson, Roscoe Beck knows a thing or two about providing serious bass groove and tone. The new Roscoe Beck Bass IV guitar is built to Becks exacting specs. It features a special Modern-Vintage select alder body, maple neck with assymetrical oval shape and Posiflex graphite neck support rods, maple or rosewood fingerboard, two Special Design side-by-side humbucking pickups, master tone control with push/pull mid-shaping feature, three-position blade switching and two mini-toggle coil switches that enable six further tonal combinations, a distictive three-ply parchment pickguard, a Fender four-saddle locking convertible bridge, knurled chrome control knobs, vintage strap buttons and Becks signature on the neck plate.

Roscoe Beck IV Bass (Lake Placid Blue Maple Fingerboard) $2059.99 A highly acclaimed player whose name is synonymous with Austin, Texas, and who has worked with a diverse roster of artists ranging from Leonard Cohen to the Dixie Chicks and from Jennifer Warnes to Eric Johnson, Roscoe Beck knows a thing or two about providing serious bass groove and tone. The new Roscoe Beck Bass IV guitar is built to Becks exacting specs. It features a special Modern-Vintage select alder body, maple neck with assymetrical oval shape and Posiflex graphite neck support rods, maple or rosewood fingerboard, two Special Design side-by-side humbucking pickups, master tone control with push/pull mid-shaping feature, three-position blade switching and two mini-toggle coil switches that enable six further tonal combinations, a distictive three-ply parchment pickguard, a Fender four-saddle locking convertible bridge, knurled chrome control knobs, vintage strap buttons and Becks signature on the neck plate.

Ry Cooder concert at Record Plant on 07 Jul 74 $12.98 Ry Cooder remains one of the very few studio icons who has gained the reputation as a “musician’s musician.” This recording from KSAN’s broadcast series, captured at the Record Plant in Sausalito, California, is essentially a solo acoustic show with Cooder, although longtime associates Jim Dickinson and Jim Keltner participate on bass and drums, respectively. Cooder was promoting his third solo album, Paradise & Lunch, which most critics still regard as his best LP to date. Personable, humorous, and unquestionably talented, this intimate performance by Cooder is a long lost gem in his long and well-celebrated career. He performs a wide spectrum of material that includes covers and originals from his then-current and previous Warner Brother’s albums. Whether it’s a Depression-era styled blues classic, such as “Police Dog Blues,” or Little Miton’s “If The Walls Could Talk,” Cooder is a master at the craft of blending smooth vocals and tasteful guitar licks around a compelling storyline song. If you don’t love the characters he sings about, you are bound to love his true musicianship, which has graced hundreds of recordings by the likes of James Taylor and The Rolling Stones. Beginning his professional career in 1963 in a little-known blues band that included pop vocalist Jackie DeShannon, Ry Cooder has become a mainstay in the California studio scene, as well as developed into one of brightest stars on the “Americana” radio format. After trying and failing to gain stardom in a band called Rising Sons in 1965 (with bandmates Taj Mahal and Ed Cassidy, who later formed Spirit), he was brought in to do session work for artists as diverse as Captain Beefheart, Randy Newman, Little Feat, Van Dyke Parks, Gordon Lightfoot and several others. He contributed a mandolin track on the Stones’ classics Let It Bleed and was also prominently featured on Sticky Fingers, where he contributed his trademark slide guitar. By the early ’80s, Cooder had also become one of the most proli

Section 8 Def Leppard Earphones RBW4973 $9.99 With more than 65 million albums sold worldwide and two prestigious Diamond Awards to their credit, Def Leppard–Joe Elliott (vocals), Vivian Campbell (guitar), Phil Collen (guitar), Rick “Sav” Savage (bass) and Rick Allen (drums)?continues to be one of the most important forces in rock music. Over the course of their career, the band has produced a series of classic groundbreaking albums that set the Sound for generations of music fans and artists. The group?s spectacular live shows, filled with powerful melodic rock anthems, have become synonymous with their name. For the past thirty years the band?s concerts have become must-see events and have quickly made them and institution in the touring industry, as they continue to sell out arenas worldwide.

Streetcore $49.98 Like Muddy Waters, whose final albums were among the best in his catalog, Streetcore by Joe Strummer & the Mescaleros (Martin Slattery, Tymon Dogg, Simon Stanford, and Scott Shields) sends Strummer into rock & roll heaven a roaring, laughing, snarling lion. Unlike the previous Mescaleros outings, which were rooted in various world and folk musics and tempered by rock, Streetcore anchors itself in rock & roll and deadly heavy reggae (and for anyone who needs a reminder, Strummer’s former band, the Clash, played reggae in the late ’70s and early ’80s better than a lot of that genre’s artists). From “Coma Girl,” the album’s opening track, there is no doubt that Strummer hits bedrock with this fusion of garage band wail and dread beat. “Coma Girl” uses lean and mean guitars and Phil Spector’s 1960s girl groups, then crosses them rhythmically with rocksteady basslines and enormous backbeats. Yes, it does sound like a lost cut from London Calling. A love song for a wasted mascot who flirts and inspires the various metaphorical socio-politcal gangs that are trying to rule the dawn of the end of the world, Strummer and band — the Mescaleros, with their killer rhythms and over-the-red-line guitar and keyboard lines are as tight and tough as anybody out there — truly find the flowers borne by suicide divas in the dustbin of the apocalypse. Writing like Bob Dylan at his most expressionistic, Strummer’s urgency is beyond the warnings of the Clash’s London Calling or Sandinista! Strummer’s protagonist is living on the nether edge of reality, where the worst has already happened, he can only celebrate what’s left in the ahses of civilization. Listening to the crunchy rocksteady thunder in “Go Down Moses,” with its monstrous dubbed-out bass and lyrics about the sellout of the world wholesale, listeners can hear Strummer laughing in the face of all the darkness multinationalism can muster. “Long Shadow,” with its minor-key architecture and acoustic guitars played in p…

Tango in the Attic $55.03 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Tango in the Attic are a Scottish lo-fi, garage, pop band from Glenrothes, formed in 2008. The band consists of Daniel Craig – vocals, Jordan Craig – guitar, Jonathan MacFarlane – organ James Crook – bass and Paul Johnson – drums. Tango In The Attic formed in early 2008 in Glenrothes, Fife. The band’s members are influenced by various artists. Using guitars, vint

Tango in the Attic $38.32 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Tango in the Attic are a Scottish lo-fi, garage, pop band from Glenrothes, formed in 2008. The band consists of Daniel Craig – vocals, Jordan Craig – guitar, Jonathan MacFarlane – organ James Crook – bass and Paul Johnson – drums. Tango In The Attic formed in early 2008 in Glenrothes, Fife. The band’s members are influenced by various artists. Using guitars, vint

The Cheerful Insanity of Giles, Giles & Fripp $24.98 This pre-King Crimson aggregate involves the talents of Michael Giles (drums/vocals), Peter Giles (bass/vocals), and Robert Fripp (guitar/vocals) accompanied by a plethora of studio musicians — most notably keyboardist Nicky Hopkins and backing vocalists the Breakaways. By any standards The Cheerful Insanity of Giles, Giles & Fripp is one of the more eclectic albums to have been issued during the psychedelic rock movement of the late ’60s. The album was initially issued in September of 1968 on the Decca Records subsidiary Deram — whose releases were aimed specifically at the alternative or progressive rock market. That said, this disc is a far cry from the type of material that other artists on the label such as the Moody Blues, Caravan, or Pacific Drift were concurrently issuing. The original record album was divided into two sections: “The Saga of Rodney Toady” and “Just George,” which were named after the respective spoken word pieces that link the musical works on the A- and B-sides. Musically, Giles, Giles & Fripp are wholly unlike anything before or since. Drawing upon folk, classical, pop, and even sacred music, each track brings a fresh listening experience. Among the highlights is the leadoff track, “North Meadow,” which features some stunning fretwork from Fripp. Likewise, “Call Tomorrow” is a trippy noir tale involving an ambiguous practical joke. The classically influenced instrumental “Suite No. 1,” as well as another one of Fripp’s more esoteric compositions, “Erudite Eyes,” likewise bear some semblance of sounds to come from the trio. While not everyone’s cup of tea, there is a tremendous amount to enjoy on The Cheerful Insanity of Giles, Giles & Fripp for those whose expectations are not of King Crimson, but rather of lighthearted and decidedly folksy English tales. Parties interested in this disc should likewise be advised of The Brondesbury Tapes, which is a collection of semiprofessional demos made by this trio and original Fairpo…

The Con [Bonus DVD] $16.98 Although identical twin sisters Tegan and Sara Quin first appeared in the music scene in the late ’90s playing the kind of folk-rock and folk-punk more associated with other Lilith Fair (in which they participated) artists of the time, by the time 2007 rolled around they had moved into much poppier territory. It was a progression, to be sure, from This Business of Art to their fourth Vapor full-length — one that can be heard in the time spent on production, the louder guitars — but that still may not prepare listeners for The Con. Produced by Death Cab for Cutie’s Chris Walla, the album is full of quirky, Aqueduct-like keyboards, punchy bass from Weezer’s Matt Sharp and AFI’s Hunter Burgan, and even some guitar help from Kaki King that stretch and shove their way into the spaces between Tegan and Sara’s hook-driven melodies and clean harmonies, more complex than anything they’ve done before. Though each sister writes and sings lead on seven tracks, it is Sara especially who writes the more intricate pieces (“Relief Next to Me,” “Like O, Like H”), showing a more adult songwriter, one who has matured since her first work came out, while Tegan draws more from simpler emo and pop-punk arrangements (“Nineteen,” “Hop a Plane”), her songs more straightforward, both compositionally and lyrically, than her sister’s. But this isn’t to say that there’s a kind of disparity or harsh contrast on The Con. Much like the duo’s voices, which share a timbre, a clear relationship, even if their actual tonality differs, the songs on the album complement each other, play off the other’s strengths, and make the record very much an entity, instead of simply a collection of tracks, setting it off as an impressive step forward in their already commendable discography. ~ Marisa Brown, Rovi

The Lion Sleeps Tonight: For a Minimum of Five Steel Drums, Congas, Shaker, and Optional Bass Guitar, Conductor Score & Parts $16.42 Used – The Lion Sleeps Tonight, also known as Wimoweh and originally as Mbube, was originally recorded by Solomon Linda and his group The Evening Birds for the South African Gallo Record Company in 1939. It was covered internationally by many ’50s pop and folk artists. In 1961, it became a number one hit in the U.S. as adapted by the doo-wop group The Tokens. This pop world music classic has been expertly arranged by Dr. Lisa Rogers.

The Lion Sleeps Tonight: For a Minimum of Five Steel Drums, Congas, Shaker, and Optional Bass Guitar, Conductor Score & Parts $10.61 New – The Lion Sleeps Tonight, also known as Wimoweh and originally as Mbube, was originally recorded by Solomon Linda and his group The Evening Birds for the South African Gallo Record Company in 1939. It was covered internationally by many ’50s pop and folk artists. In 1961, it became a number one hit in the U.S. as adapted by the doo-wop group The Tokens. This pop world music classic has been expertly arranged by Dr. Lisa Rogers.

The Lion Sleeps Tonight: For a Minimum of Five Steel Drums, Congas, Shaker, and Optional Bass Guitar, Conductor Score & Parts $10.61 Used – The Lion Sleeps Tonight, also known as Wimoweh and originally as Mbube, was originally recorded by Solomon Linda and his group The Evening Birds for the South African Gallo Record Company in 1939. It was covered internationally by many ’50s pop and folk artists. In 1961, it became a number one hit in the U.S. as adapted by the doo-wop group The Tokens. This pop world music classic has been expertly arranged by Dr. Lisa Rogers.

The Lion Sleeps Tonight: For a Minimum of Five Steel Drums, Congas, Shaker, and Optional Bass Guitar, Conductor Score & Parts $16.42 New – The Lion Sleeps Tonight, also known as Wimoweh and originally as Mbube, was originally recorded by Solomon Linda and his group The Evening Birds for the South African Gallo Record Company in 1939. It was covered internationally by many ’50s pop and folk artists. In 1961, it became a number one hit in the U.S. as adapted by the doo-wop group The Tokens. This pop world music classic has been expertly arranged by Dr. Lisa Rogers.

The Mastersounds concert at Newport Jazz Festival on 03 Jul 59 $6.98 The West Coast counterpart to the Modern Jazz Quartet, the Mastersounds presented a cool, tastefully-arranged brand of jazz that combined the shimmering sound of vibraphone with piano, bass and drums. And while vibraphonist Buddy Montgomery may have been the Milt Jackson of the Mastersounds, his brother Monk brought a distinctly different quality to the band on Fender electric bassist than his MJQ counterpart, upright bassist Percy Heath. Rounded out by pianist Rich Crabtree and drummer Benny Barth, the Mastersounds had a three-year stint of popularity through six successful recordings on the Pacific Jazz/World Pacific label, beginning with 1957′s Jazz Showcase???Introducing the Mastersounds. In the span of about two years, Pacific Jazz would subsequently release The King and I: A Modern Jazz Interpretation by the Mastersounds, Kismet: An Interpretation by the Mastersounds (featuring a special guest appearance by brother Wes Montgomery on guitar) and Flower Drum Song: A Modern Jazz Interpretation by the Mastersounds. In spite of the fact that they were named they were named as the 1959 Down Beat Critic’s Poll for Best New Group, The Mastersounds ultimately disbanded in early 1960. They had a reunion in the studio later that year to record for the Fantasy label and the three Montgomery brothers also subsequently played together on a 1961 Riverside recording, Groove Yard. The Mastersounds opened their July 3rd set at the 1959 Newport Jazz Festival with “Golden Earrings,” a beguiling Ray Evans tune that became a smash hit in 1948 for singer Peggy Lee and was later covered in numerous instrumental versions by a variety of jazz artists. Barth’s supple brushwork on the kit sets a gentle tone while Crabtree comps lightly and politely around Buddy Montgomery’s delicate vibes playing. Monk, one of the pioneers of the electric bass guitar in jazz, walks persuasively on his instrument throughout this buoyantly swinging rendition, providing a surging momentum behind Crabtree’s

Three Mantras $12.98 It would actually be more accurate to call this album ‘Two Mantras,’ given that it consists of two sidelong pieces, “Eastern Mantra” and “Western Mantra,” which gives the still-then-a-trio a chance to expand its avant-electronic-grunge into trancier realms. Mallinder’s abstract ranting is in full effect from the start of “Eastern,” talking about bodies in the streets and the like, and from there things move into a rough realm of strange art, Voltaire-style. The combination of Kirk’s guitar and Mallinder’s bass work here is practically that of Krautrock/motorik, Mallinder playing a steady, quietly varying series of notes while Kirk throws in a variety of crumbling squalls. His work is sometimes vaguely Arabic in flavor, which combined with the length of the song, the hollow drum machine punch driving everything along, and Watson’s piercing keyboards is not merely interesting but helps to demonstrate, in a subtle way, some of the future influences on artists like Muslimgauze. The alien feeling at the core of Cabaret Voltaire remains, though, strong and strange as always. “Western Mantra” has the basic trio, plus guests on percussion and found-sound tapes, doing something far more outre. A heavily-treated vocal loop underlaid by a subtle keyboard drone starts the song, interspersed with samples of Arabic and Israeli pop music and various bell sounds — the roots for Muslimgauze in particular really show here! Kirk’s crisp playing floats in some time later, stepping in and out of the mix but never predominating, while Mallinder’s bass is barely detectable. The occasional bursts of low, clattering pounding, with cymbals if not with drums in the background, combined with the continuing series of song samples, Arabic wind instruments and snippets recorded in a Jerusalem market, heightens the enveloping, striking feel of the piece and release as a whole. ~ Ned Raggett, Rovi

USED: A Traveler’s Dream: Celtic Explorations $6.98 Master of the hammered dulcimer and mistress of the Maggie’s Music label, Maggie Sansone proves on Celtic Explorations, her sixth solo album, that this head of a largely traditional Celtic label is one of the roster’s most expansive artists. Sansone reaches out both geographically and musically. The music of Ireland, Scotland, Sweden, Northumberland (England), and Cape Breton (Canada) is encountered in this Gaelic travelogue. Sweden is represented in a largely unrecognized trove of Celtic sounds choosen to introduce the listener to “Bjorndansen (Bear Dance).” Surprisingly, this is a very light and airy piece played on dulcimer, acoustic guitar, clarinet, and supporting instruments. Apparently, they have very delicate, nimble bears in Scandinavia. Canada’s Cape Breton is a region known for its fiddle virtuosos. Award-winning fiddler Bonnie Rideout steps in to showcase the set of “Gaelic Reels” that are also arranged for hammered dulcimer, soprano saxophone, accordion, bamboo flute, clarinet, acoustic guitar, and Celtic and East Indian percussion. Sansone contributes a pair of original tunes. One of which, “Samhain Set: All Hallow’s Eve/The Seeker” is a magical and mysterious piece where a mournful harmony from bass clarinet supports the sylvan bamboo flute and the sorcerous E-bow, a hand-held electronic device that produces a bowed string effect. Each track is patiently and beautifully developed incorporating skill and tradition in an immensely memorable treatment of these ancient styles. ~ Tom Schulte, Rovi

USED: Funky Stuff: The Best of Funk Essentials $3.99 For those looking to find a crash course in “the funk” — a quick introduction to the fusion of R&B, soul, jazz, blues, good old rock & roll, and all-out outrageousness that creates the ultimate good groove — you can’t do much better than the Funk Essentials compilations. Funky Stuff: The Best of Funk Essentials is the perfect portrait. With its contents drawn from the single-band Funk Essentials compilation albums, this clean, clear set provides incredible diversity while keeping the vibe connected. In other words, Funky Stuff is not only an introduction to the heaviest of hitters, but also a nifty, smooth ride for the already initiated. Opening with (of course!) Parliament’s seminal 1978 number one “Flashlight,” included in its nearly 11-minute 12″ extended version, it’s just a short hop to the bright brass of Kool & the Gang’s whistle-punctuated “Funky Stuff.” Both bands are reprised a little later with “Tear the Roof off the Sucker (Give up the Funk)” and “Jungle Jazz,” respectively. Rounding out the contemporary flow are Cameo’s old-school homage and first charting single, “Rigor Mortis,” and Con Funk Shun’s brass- and bass-infused “Ffun.” And, while these songs are familiar — and perfect for a compilation — Funky Stuff keeps the toes up with the inclusion of a couple of nice touches, including Hamilton Bohannon’s “Let’s Start the Dance” and the edgy guitar and vocal jam of Leon Haywood’s 1975 hit “I Want’a Do Something Freaky to You.” The latter is especially welcome, as it’s such a classic old-style groove that’s often overlooked on contemporary collections. So, be you funk master looking for a jam-packed delight or a new schooler exploring the history, Funky Stuff becomes a valuable asset. ~ Amy Hanson, Rovi

USED: ICE CREAM FOR CROW 0590 $12.99 With yet one final Magic Band lineup in place, featuring Richard Snyder on bass and Cliff Martinez on drums alongside returning vets Jeff Moris Tepper and Gary Lucas, Beefheart put the final touch on his recording career to date with Ice Cream for Crow. It’s a last entertaining blast of wigginess from one of the few truly independent artists in late 20th century pop music, with humor, skill, and style all still intact (as even the song titles like “Semi-Multicoloured Caucasian” and “Cardboard Cutout Sundown” show). With the Magic Band turning out more choppy rhythms, unexpected guitar lines, and outr? arrangements, Captain Beefheart lets everything run wild as always, with successful results. Sometimes he sounds less like the blues shouter of lore and more of a spoken word artist with an attitude, thus the stuttering flow of “The Host the Ghost the Most Holy.” “Hey Garland, I Dig Your Tweed Coat” is even more entertainingly outrageous, Beefheart’s addictive if near impenetrable ramble about tobacco juice and straw hats and more backed by an insanely great arrangement. Magic Band members each get chances to shine one way or another — “Evening Bell” in particular demonstrates why Lucas went on to later solo renown, a complex, suddenly shifting solo instrumental that sits somewhere between background music and head-scratching “how did he do that?” intrigue. ~ Ned Raggett, All Music Guide

USED: Method of Execution $7.99 Arguably, the Scandinavian countries have become to death metal what New York City is to jazz and Chicago is to the blues — not the place that invented it, but the area that is the most closely identified with it. A death metal CD collection that is devoid of Swedish and Norwegian bands would be like a collection of electric blues that excludes Chicago residents — in other words, inadequate. Nonetheless, there have been countless blues artists of merit who never lived in the Windy City — and similarly, acknowledging Scandinavia’s importance to death metal doesn’t mean downplaying the contributions of American bands ranging from Slayer in Los Angeles to Death, Morbid Angel, Deicide, Obituary, and Malevolent Creation in Florida. One band that helped keep the Florida death metal scene alive in the late ’90s and early to mid-2000s was Divine Empire, who maintain their love of vicious sensory assault on their fourth full-length album, Methods of Execution. The band’s 2005 lineup goes for the jugular on this 58-minute disc, which unites former Malevolent Creation members Jason Blachowicz (lead vocals, bass) and J.P. Soars (guitar) with drummer Duane Timlin. Although Methods of Execution is a Florida-style death metal CD first and foremost, there are a few curve balls here and there. “Impervious Deception” and “Kill the King” (not to be confused with the Rainbow/Ronnie James Dio classic) both combine Florida-style death metal with Norwegian-style black metal, and “Prelude to the Storm” is a two-minute instrumental that is surprisingly pretty (in a melancholy way) and has a strong East European folk influence. But “Prelude to the Storm” is hardly typical of Methods of Execution on the whole — and 95 percent of the time, this album thrives on harshness, brute force, and claustrophobic density. Although not essential, Methods of Execution is a decent outing that will appeal to Blachowicz and Soars’ die-hard fans. ~ Alex Henderson, Rovi

USED: Music Makers With Taj Mahal $7.99 This delightful sampler has roots Renaissance man Taj Mahal backing up several of Music Makers’ blues artists in a sequence of tracks that are as comfortable and warm as a jam session on the back porch. The disc opens with two stunning instrumentals that pair Taj with master acoustic guitarist Etta Baker on “Going Down the Road Feelin’ Bad” and her signature tune, “Railroad Bill,” then proceeds through John Dee Holeman’s “One Black Rat,” Cootie Stark’s marvelously creaky “Keep on Walkin’,” and Mr. Frank Edwards’ ancient sounding “Chicken Raid.” By the time the album ends we’ve heard Taj Mahal on piano, guitar, bass, banjo, mandolin, harp and the bones, and have been introduced to nine folk-blues artists who deserve a wider audience, which is, no doubt, the point of all this. ~ Steve Leggett, All Music Guide

USED: Rodeo Waltz $6.99 When a record starts off with a classic Johnny Cash tune like “Get Rhythm,” you know you’re on the right foot. When it also includes Tex Ritter’s “Long Time Gone,” Jesse Winchester’s “Brand New Tennessee Waltz,” and Gordon Lightfoot’s “Steel Rail Blues,” you know, at the very least, the artist has good taste in songs. And when that artist is Sweethearts of the Rodeo, you know the voices will sure be pretty and the harmonies aplenty. You could just about consider these two ladies, Janis Gill and Kristine Arnold, to be the Everly sisters. They are sisters, after all, who have been singing together since the early ’60s and they cover a lot of the same musical ground that Phil and Don Everly covered. And it never hurts to have Roy Huskey, Jr. on bass and Vince Gill on guitar for you, even if you’re married to one of them. In an age when country and pop are almost indistinguishable, it’s nice to have a few artists dusting off some good, old tunes and offering them up to a new generation of fans. ~ Kelly McCartney, Rovi

USED: The Roots of Chicha: Psychedelic Cumbias From Peru $9.98 Chicha is an indigenous music that was spontaneously created by the culture clash of the ’60s when the Indian population of the Peruvian Amazon discovered the Columbian pop music known as cumbia and American rock & roll. As cheap electric instruments became available, Amazon Indians put together dance bands that used the syncopated beat of cumbia — which sounds like a laid-back Latin cousin of ska — as the foundation for melodies that sound like Andean folk tunes, played on electric guitar with lots of effects and Tex-Mex style Farfisa. When the Indians moved to the city, most notably Lima, they brought their music with them. Like Afro Peruvian music, chicha was frowned upon by the middle and upper classes, but unlike the music of Afro-Peru, chicha never gained an international following, until now. Oliver Conan, owner of the Barb? s nightclub and record label, discovered the music on a recent trip to Peru. He also discovered that the label that put out a lot of the music had gone bankrupt and many of the master recordings were lost. He finally tracked down six Chicha combos — los Mirlos, Juaneco y Su Combo, los Hijos del Sola, los Destellos, los Diablos Rojos and Eusebio y Su Banjo — and put together this 17-track compilation. American listeners will be surprised at how familiar the music sounds, with the sprightly garage band meets Tex-Mex bounce of the organ, the twangy surf guitar lines, Cuban counter rhythms, and Andean melodies. Los Destellos name all their compositions after women and show the strongest Latin/Cuban flavor and the most eclectic approach. They transform Beethoven’s F? r Elise into “Para Elisa” a jaunty track with the melody played on twangy surf guitar backed by a simple rhythm section of g? ira, bongos and bass. “A Patricia” plays off their guitarist’s psychedelic chops against the bands ever shifting rhythmic accents on timbales, bongos and cowbells. Los Mirlos were popular in the ’70s, and their tunes include “Sonido Amazonico,”…

USED: The String Quartet Tribute to Enya: Dreams $7.98 Enya’s ethereal, misty-eyed new age craft has inspired numerous tributes over the years, from a stirring 1996 recording of symphonic renditions of her music by the Taliesin Orchestra, to Big Eye Records’ 2004 Tribute to Enya, which was pleasant enough even if its relevancy was questionable. Whereas that release featured vocalists emulating Enya’s signature style, String Quartet Tribute to Enya features only violins, viola, cellos, double bass, and the occasional flourish of guitar, mandolin, and percussion. Though it doesn’t include well-known pieces like “Watermark” or “Orinoco Flow,” this tribute does turn in impressive versions of the more recent songs “A Day Without Rain” and “Only Time.” It also travels all the way back to Enya’s initial solo recordings for “I Want Tomorrow.” Given the artist’s own yen for relaxing sounds, Enya fans should find enjoyment in these tasteful, soothing renditions of her songs. ~ Johnny Loftus, Rovi

USED: Under the Pipal Tree $7.99 The turn of the 21st century found post-rock entering its post-Mogwai phase, and a number of likeminded souls found themselves in sway to the quiet-loud-quiet (or loud-quiet-loud) muse. Japan’s Mono were no exception, and they do an exceedingly exemplary and dynamic version of it. Although some may find it formulaic, the template is laid out on their debut, Under the Pipal Tree, bizarrely issued on John Zorn’s Tzadik imprint, a label known more for skirting the far fringe of free jazz than for indulging in mono-lithic instrumental rock. Although Mono would go on to craft more nuanced, classical-influenced work, especially on their collaboration with World’s End Girlfriend, the first track here is all the listener needs to know about Mono’s modus operandi. “Karelia (Opus 2)” begins with a slow-build swell of tentative yet strident delayed guitar, gathering momentum with the addition of galloping drums and layer upon layer of guitar squall to the point that the listener believes it can’t possibly get any louder — and then, of course, it does. Then everything suddenly drops out into a brief quiet passage, so soft indeed that again the listener is beguiled into reaching for the volume control, whereupon a lone bended guitar note wails repeatedly, eliciting spine-tingling chills like the nearby howl of a werewolf, and the whole band erupts once more into a furious maelstrom of guitar distortion, sub-rumbling bass, drums like an avalanche, and cymbals like crashing tidal waves. And if this is formulaic, it in no way diminishes the exalted catharsis it brings to the involved listener, and it has worked for many others, especially the string-driven Canadians like Godspeed You Black Emperor! and A Silver Mt. Zion (Mono don’t forget to add a bit of cello here and there), as well as dour Texans Explosions in the Sky with their arsenal of impossibly gnarled and intertwined guitars. While all of these artists would go on to hone their own distinctive takes on the formula, …

USED: Wellwater Conspiracy $7.99 The 1960s revisionism continues on Wellwater Conspiracy’s self-titled effort, its fourth LP overall and first for Mega Force. Matt Cameron (drums/vocals/guitars) and John McBain (guitar/bass/keyboards) (joined on keyboards here and there by the Walkabouts’ Glenn Slater) have made a record that might be more cohesive than past WWC output, but only because it never drifts too far from pretty melodies. What’s really obvious here is the comfort inside these songs. If your band wears its psychedelic and pop influences like flowers in its hair, is it pretentious to cover Thunderclap Newman’s era-signifying “Something in the Air”? Maybe, if Cameron and McBain didn’t bookend their version with two of Wellwater’s most freewheeling instrumental departures. The robotic “Rebirth” suggests Trans Am’s backroom electronica with its sputtering, chintzy-cool keyboards and live, grooving drums, while the improvisational “Sullen Glacier” features lurching time signatures and fire-breathing stoner metal guitars. The bandmembers are comfortable enough with one another (and confident enough in their skill) to throw switch-ups like these into the mix. Even when the band’s inner flower child is blatantly at the controls (the spot-on Byrds guitars of “Wimple Witch”; Cameron’s vintage vocal on the Who-ish, awesomely named “Dragonwyck”), Wellwater Conspiracy steers its peace train down dark indie rock and modernist, experimental paths. The floating “Sea Miner” could be a lost bit of atmosphere from Love, but its unsettling stylistic cloudbursts are akin to the abstract rock impressionism of outfits like the Sea and Cake. This free-form toadstool hopping is indicative of a band unconcerned with financial return on its intellectual investment. Tailoring the sound is out; squashing stuff together is in. Plenty of artists use this approach; too often, it results in a studio-tweaked mess only a producer could love. By keeping things loose and organic, yet ambitious and consistently …

Various Artists – (D)early Departed: True Lies Unearthed from Lone Fir $14.49 Personnel: Jim Brunberg (vocals, guitar, slide guitar, banjo, pump organ, upright bass); Leigh Marble (vocals, guitar, piano, pump…

Various Artists – A Tribute to AFI $10.99 Personnel: Anthony Esposito (vocals, guitar, bass guitar, background vocals); Atlantis Black (vocals, guitar); Sheila Nicholls (vocals,…

Various Artists – Addicted to Bass: Winter 2009 [Digipak] $24.99 Personnel: Sophie Barker, Sarah Saville, Ned Scott (vocals); Rob Swire (guitar); Ceri Evans (keyboards); Red Rat (background…

Various Artists – An All Star Tribute to Bon Jovi $10.99 Personnel: DJ Ashba, Eric Turner (guitar); Danny Wagner (keyboards); James Kottak (drums, drum); Jerry Dixon (bass guitar). Audio…

Various Artists – Anchored in Love: A Tribute to June Carter Cash $15.99 Personnel: Jack Cooke (vocals, upright bass); Tom Britt, Brad Paisley (guitar); Randy Scruggs (acoustic guitar, slide guitar); Laura…

Various Artists – Beatlesgrass [Digipak] $9.99 Personnel: Charlie Chadwick (bass instrument); Pete Huttlinger (acoustic guitar, banjo); Jerry Cortez (acoustic guitar); Tommy White…

Various Artists – Best of Scottish Fiddle $13.49 Personnel: Brian McAlpine (vocals, acoustic guitar, electric guitar, accordion, keyboards, bass guitar); Buzzby McMillan (vocals,…

Various Artists – Blues Guitar Greats [Delmark] $14.99 Compilation producers: Robert G. Koester, Scott Dirks. Engineers include: Ralph Bass. Recorded between 1961 and 1995. Includes liner…

Various Artists – Boom Tube: The Ultimate Collection: Television’s Greatest Bass $15.99 Various Artists: George Scholz. Personnel: Sean Paul Powell (vocals, saxophone); George Scholz (guitar). Audio Mixer: J.P….

Various Artists – British Blues All Stars: Live at the Notodden Blues Festival [Digipak] $13.49 Various Artists: Peter Green (guitar); Gary Fletcher (bass guitar); Colin Allen, Kim Simmonds, Long John Baldry, Tom McGuinness, Steve…

Various Artists – Celtic Spa $15.99 Personnel: Simeon Wood (whistling, flute, bass flute, bamboo flute, quena, piccolo, panpipes, didjeridu); John Gerighty (guitar,…

Various Artists – Eagles Grass [Digipak] $11.99 Personnel: Hoot Hester, Boot Hester (fiddle); Charlie Chadwick (bass instrument); Fred Newell (acoustic guitar, mandolin); Bill Hullett…

Various Artists – Glory Revealed II $13.49 Personnel: Trevor Morgan (vocals, guitar, guitars, bass instrument); Shane Barnard (vocals, guitar, guitars); Shawn Lewis (vocals,…

Various Artists – Holding Up Half the Sky: Voices of Celtic Women $15.99 Personnel: Chris Birkett (vocals, acoustic guitar, accordion, keyboard bass, marimba, drums, congas, cowbells, kalimba, shaker,…

Various Artists – I Am the Resurrection: A Tribute to John Fahey $14.99 Tributee: John Fahey. Personnel: Joey Burns (vocals, guitar, upright bass); Sufjan Stevens (vocals, acoustic guitar, electric guitar,…

Various Artists – Impala Eardrums: A Radium Sampler $17.99 Personnel: David Daniell (guitar, bass guitar, computer); Byron Westbrook, Evans Wohlforth, Igor Cubrilovic, Karen Haglof, Robert Poss,…

Various Artists – Jazz for Lovers [Prestige] $9.99 Personnel: Marty Bell (vocals); Joe Puma, Kenny Burrell, Barry Galbraith, Mundell Lowe (guitar); Al Klink (flute, bass clarinet); Herbie…

Various Artists – Livin’ Lovin’ Played: A Led Zeppelin Tribute $10.99 Personnel: Brian Robbins (acoustic guitar, slide guitar); Dominic Genova (upright bass). Audio Mixer: Henri Yonet. Recording…

Various Artists – MarleyGrass $12.99 Various Artists: David Spicher, Charlie Chadwick (bass guitar); Darrin Vincent, Andrea Zonn, Vic Jordan, Fred Newell, Bill Hullett,…

Various Artists – Masters of Jazz: The Sampler $6.99 Personnel: Louis Armstrong (vocals, trumpet); Stuff Smith, Billie Holiday (vocals); Herb Ellis (guitar); Harry Carney (clarinet, bass…

Various Artists – Masters of the Steel String Guitar $15.99 Includes liner notes by Joe Wilson. Personnel: Linda Lay (vocals, alto); John Cephas (vocals, bass voice, guitar); Eddie Pennington…

Filed Under: Bass Guitars Tagged with audio, bass, bass guitar artists, Guitar, jazz, Music

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