Finally! I can share mp3s!

[PeeWee]

For anyone that's interested, I've finally set up an account with Sound Click so that I can share stuff that I've played on in the past. I currently have up 5tracks from my last studio recording that was released in 2005. Each is a different Blues styling from '40s inspired Jump Blues to one chord North Mississippi-styled drone. I'm also providing the vocals on the Jump number and the T-Bone Walker/Lowell Fulson inspired tunes....please forgive the croaking! Give 'em a listen to and please feel free to leave any feedback; what's done is done!

http://www.soundclick.com/bands/pagemusic.cfm?bandID=768884

[K-man]

PeeWee those sound great. Nice playing and killer tones. What amp were you using?

[PeeWee]

PeeWee those sound great. Nice playing and killer tones. What amp were you using?

Thank you, K-man! The whole session was recorded through my 1959 5E3 Deluxe. No effects and no reverb; the reverb is natural from the tiles in the amp room. I also brought along my 1966 Deluxe Reverb but never felt the need to fire it up.

The guitars varied depending on the cut, but I used an Historic ES-5 w/ P90s and no pickup switch - just a master tone control on the cutaway -, my 2001 R6 and a 2001 '56 Relic Strat for the session. Nearly everything was recorded live with very little overdubbing and my 2 vocal tracks are actually the 'scratch' tracks.

Since I first posted this thread, I've gone back and added a few more songs; "Still Sweatin'" is an instrumental that was a follow up to a tune we had some success with, "Buck Naked (& Sweatin')". "Love Trance" is a contemporary Blues that sounds like the musical "love child" of Robert Cray and The Zombies. "Just Like A Woman" is a Muddy Waters inspired Chicago Blues.

[sliding-tom]

I'll check into this when I'll have a lil' more time on my hands, P., but I guess I have at least some of those tracks on your CD. Well, anyway, welcome on "soundclick" - it's a great site for musicians to share their music IMO. :)

[PeeWee]

Yeah, you've heard all this stuff, Tommy. I do have some cuts that I'm debating putting up tho': a cut with both me and Anson Funderburgh playing and a really hip version of the old Amos Milburn tune, "Chicken Shack Boogie". There may be a question with copyrights on those, so I may not.... don't need any extra headaches!

[K-man]

Yeah, you've heard all this stuff, Tommy. I do have some cuts that I'm debating putting up tho': a cut with both me and Anson Funderburgh playing and a really hip version of the old Amos Milburn tune, "Chicken Shack Boogie". There may be a question with copyrights on those, so I may not.... don't need any extra headaches!

Man, you played with Anson? He is a phenominal player!

[PeeWee]

Man, you played with Anson? He is a phenominal player!

Anson and I have been friends since 1989, and he was a guest on our 2001 release on Planetary Records, Young & Evil. We played together on 5 tracks and had a blast.

Then in 2004, the band was working a festival where The Rockets were headliners. Anson approached us after our set and proposed that he produce our next recording, which is where all the SoundClick tracks came from. That's him working out on the shakers in Love Trance under the moniker of "Rattlesnake Slim". He also had a near completed deal for us to release the CD on Blind Pig, but our idiot bandleader got caught in a lie when pressed by the label executives and they (Blind Pig) killed the deal. As a result, we had to form our own label. Anson had also wanted us to fly to Dallas to record, but the same idiot nixed that proposal and instead flew Anson to Richmond, VA to work in an unfamiliar environment with an engineer he didn't know. For what the guy spent in overdubbing his parts to correct his mistakes, we could have easily made that trip to Texas!

The CD did very well - finished at #94 on Living Blues Magazine's Top 100 for 2005 and even stayed in the Top 25 for 3 months after debuting at #15 in April 2005. It ranked at #8 overall in Canada's Real Blues Magazine's Top 100 as well. I honestly feel that if we'd done things the way Anson wanted to do it, I'd still be in that band and we would have been on every major festival in the US and Europe. I also think that the CD would have performed even better that it did... but shoulda, coulda, woulda. :p

[MelvinDale]

but our idiot bandleader got caught in a lie when pressed by the label executives and they (Blind Pig) killed the deal. As a result, we had to form our own label. Anson had also wanted us to fly to Dallas to record, but the same idiot nixed that proposal and instead flew Anson to Richmond, VA to work in an unfamiliar environment with an engineer he didn't know. For what the guy spent in overdubbing his parts to correct his mistakes, we could have easily made that trip to Texas!



. . and you wonder why you see so few drummers as band leaders - it was the drummer right?:rolleyes:

Great tone indeed on the Jump Blues - after re-reading that guitar-cord-amp was all you were playin' makes it that much sweeter. I'll be back to listen to the rest of the cuts.

MelvinDale

[PeeWee]

MD,

Actually the "band leader" was the harp player....waddya expect from someone who plays a toy that you can find in any Cracker Barrel gift shop? Dude couldn't tell you a second from a seventh, yet he's the "leader of the band"; makes sense to me.

Thanks for the nice compliment!

[PeeWee]

. . and you wonder why you see so few drummers as band leaders - it was the drummer right?:rolleyes:




I should talk a little about the drummer on these tracks, who is also one of my best friends:

The drummer that you hear on all of these tracks you've no doubt heard numerous times on the radio; his name is George Sheppard. George is a monster drummer who was a protege to Buddy Rich when he was 5 years old. He then was tutored by another Jazz legend, Louis Belson. At the urging of both Buddy and Louis, George went to NYC to study under Henry Adler who was not only thier instructor, but also taugh Steve Gadd, Steve Smith of Journey and countless numbers of others.

George then went on to play with the Benny Goodman Orchestra, spent 20 years off and on playing with Dizzy Gillespie and also played behind such Jazz greats as Oscar Peterson, Shirley Horn, Bucky Pizzarelli, David Sanborn, Ron Carter and many more.

George is also the guy you hear playing the timbales in "Burning Down The House" by the Talking Heads and was the drummer on Eric Johnson's "Cliffs of Dover". He's spent time working in the bands of Jeff Beck (subbing for Terry Bozzio), Smokin' Joe Kubek & B'nois King, Edgar Winter and way too many others to list.

In addition to his studio and performance work, he works on Remo's R&D team where he helped design the Power Stroke 3 drum head. He was named Modern Drummer Magazine's "Drummer of the Year" and is a full endorsee with Remo, Zildjian, Vic Firth & Pork Pie. He is the author of the highly successful "Primary Handbook for Drum Set" published by Hal Leonard to boot!

I met him a number of years ago purely by accident at one of my gigs with Catfish Hodge. He'd just finished his run with Smokin' Joe and was looking for work. The Grand Dukes had just lost our drummer to leukemia and I so pitched him for the gig and he excepted! We still work together in a side project that I have called PeeWee & The Primates where we play traditional New Orleans R&B as well as Gulf Coast and Texas Blues.

[Noitpure]

Awesome tone and playing. Really enjoying checking out these tracks!

[PeeWee]

Thanks to all who have given my tracks a listen and for all the nice compliments! I'm humbled :o

[MelvinDale]

Pee Wee,
Went back to listen to Cliff's of Dover - no doubt about that's some truly inspired drumming on that track.
So often as musicians we key in on on or two instruments (usually what we can play) and miss listening to each and every performance - thanks for opening my eyes as well as my ears.
Major kudo's to George.

[PeeWee]

Pee Wee,
Went back to listen to Cliff's of Dover - no doubt about that's some truly inspired drumming on that track.
So often as musicians we key in on on or two instruments (usually what we can play) and miss listening to each and every performance - thanks for opening my eyes as well as my ears.
Major kudo's to George.


Here's the kicker: he only uses a single kick drum! He learned a little trick years ago from Louie Belson that incorporated a double beater on the bass drum pedal. Belson was one of the first - if not the first - to use a double bass kit. He later tired of it and developed the double beater pedal.

Funny story, but true:

George and Louie were at some drummer's function once where many of the big guns were in attendance. They're standing there catching up and Carmine Appice sees them and walks right over to Louis. They start talking about kits and such and Carmine tells Louie, "You know, I was the guy who invented the double bass kit". Louie kind of grinned and replied, "Oh really? That's a pretty good idea, maybe I should try that sometime!" It seems that Carmine was too busy to have noticed that Louis was using that same set up back in the '40s! Rock Stars.....is there anything that they haven't done???