Redneck's Reserve

Friday, December 25, 2009

Some sadness on the holiday.

James Gurley, the lead guitar player for Big Brother and the Holding Co. has passed away.


Surviving members of Big Brother said Gurley died Sunday in a Palm Springs hospital after suffering a heart attack.

One of many prominent guitarists to emerge from San Francisco's psychedelic music scene in the mid-1960s — others included the Grateful Dead's Jerry Garcia, Jefferson Airplane's Jorma Kaukonen and Barry Melton of Country Joe and the Fish — Gurley was hailed by many as the original innovator of the sound.

"I would say all of my guitar-playing contemporaries strived to have their own sound, but I think James was a huge influence on all of us because he wasn't afraid to break the boundaries of conventional music," Melton said Thursday. "What one thinks of that genre of music is that place that it takes you to where the beat is just assumed and the whole thing is transported to another place, and James is the guy who started that."

Doing things like using an electric vibrator as a slide on his guitar, and picking up amplifiers and shaking them during performances, Gurley created a loud, esoteric sound that was the driving force behind Joplin's voice on such classic songs as "Ball and Chain," "Piece of My Heart" and "Summertime."

"Some of the innovations were the result of the fact he came from kind of a progressive bluegrass school of music where weirdness was encouraged," said Peter Albin, the group's bass player.

One of the few rock guitarists to use finger picks rather than a flat pick, Gurley had taught himself to play by listening to old Lightnin' Hopkins blues records as a teenager.


He was playing acoustic guitar in a coffee house in San Francisco in 1965 when legendary counterculture figure Chet Helms, founder of the Family Dog commune, introduced him to the other band members.

Although Joplin would become the public face of the band when she joined in 1966, Albin recalled Gurley as being the true force of nature who introduced the other members to alternative lifestyles, psychedelic drugs and musical innovation.

"He was very influential to the whole band early on, and even later, just by being a guy who had strange tastes and played guitar in a very bizarre manner," Albin told The Associated Press.

When he first met Gurley, Albin said, the guitarist was living in a walk-in closet with his wife and young son and told him that before that he'd lived in a cardboard house along the California coast and with indigenous people in the mountains of Mexico, where he had taken part in hallucinogenic religious ceremonies.

After Joplin left Big Brother in 1968, the group disbanded but has since reformed and continues to perform to this day. Gurley, however, left for good in the late 1990s after a falling out with the other members.

Born in Detroit in 1939, Gurley was the son of a stunt-car driver and, according to the band's Web site, would sometimes perform as a "human hood ornament" when his father drove a car through a flaming plywood wall.

After leaving Big Brother, he lived quietly in Palm Desert, occasionally working on solo projects. He released the album "Pipe Dreams" in 2000.

Gurley, who died two days before his 70th birthday, is survived by his wife, Margaret, and sons Hongo and Django.

Band members plan to hold a memorial sometime next month in San Francisco.

Thursday, December 24, 2009

ROCKER'S LOVE CHRISTMAS TOO!

The "Metal God" Rob Halford left Judas Priest in 1991, but he has not been idle. Recently published "Halford 3 - Winter Songs" is touted as "the best metal Christmas albums in years". On this album is my personal favorite "We Three Kings"!

This classic Christmas Carol has never sounded so good...to rocker's ears anyway! Give it listen and pay close attention to the guitar licks, but don't forget that Halford has a nearly four octave vocal range, having recorded notes from D2 to C♯6. He is one of the most respected singers of heavy metal and rock music with a quasi-operatic vocal style and high-pitched screams.

And, just because I like the song, here is another version with Steve Ouimette. His version was included in the Guitar Hero III, and you can see why!

Getting back to something closer to tradition, check out this unique version by Dante Bucci!


MERRY CHRISTMAS TO ALL!

Saturday, November 28, 2009


GRAND FUNK RAILROAD

For eight long years, from 1969 to 1976, Grand Funk Railroad were one of the most popular rock bands in America. They broke attendance records, sold zillions of albums, seemed to be all over the place and even had the luxury of employing such producers as Todd Rundgren and Frank Zappa. They proudly took the slogan of rock music being music for The People and followed it more closely than just about any competition. And they were hated by the critics worldwide. And for good reason...

In the late Sixties, with Led Zeppelin heralding the way, groups of brawny young people all over the world were getting together with the single aim of making music that would be heavy, heavy and heavy again. Yet, as it always happens when you're following a trend, in order to really capture the public eye, that heavy music had to have an identity of its own. Deep Purple made themselves stand out by successfully incorporating classical influences into their fire-breathing act. Black Sabbath pushed the doors open for Satanic or mock-Satanic rock. Mark Farner, Mel Schacher, and Don Brewer did not invent any particular style, and in purely technical terms, weren't really original. But they did start up a trend, a trend that would be even more widely followed and imitated in the Seventies than any of the trends set by these other (and better) bands. They created Populist Rock
.




"Inside Looking Out"


Part 1



Part 2


Part 3


Part 4


Part 5

Friday, November 27, 2009


Still Got The Blues ?












Saturday, November 14, 2009


Casas Rojo









Saturday, November 7, 2009


Rolling Thunder

Things are pretty slow in the DFW Construction marketplace these days, so in order to get leaner, the company I work for "gave" me the title to my company Silverado. They're still buying all my gas and shit, but now I have to pay for the insurance and any future repairs. When / If things pick back up I'll probably get a new one, but that all remains to be determined.

So anyway, seeing how tough times these are, and how uncertain the future is ..... I decided now would be a great time to spend a bunch of money upgrading the truck's stereo system to my discriminating standards. ;-) The best excuse I can come up with is that I do spend over 12 hours a week commuting, and listen to more music in my truck than I do at home.

I had already upgraded the factory head unit, out of my pocket, years ago.

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At the time, I had 3 criteria that had to be met. It had to play the CD-Rs that I was burning at the time at home, it had to be 1.5 DIN size to exactly match the hole in the Silverado's dash, and it had to be cheap enough, since I was putting it in a company vehicle, that I wouldn't be too upset if I had leave it in there if I got mad and quit one day. That last criteria never really came into play because only one manufacturer met the the first 2 criteria, Pioneer. I wasn't really a big fan of Pioneer products, dating back to my past biases toward the Alpine tuner I had had in my personal truck back in the 80s..... and Pioneer didn't disappoint me ...... the CD player pissed out only a few months after I bought it, and I was too disgusted to pull it out and get it fixed. So I've been driving around the last several years with commercial radio only. I had also replaced the 4 factory speakers with some JBL units.

So being out of the car audio loop for the last 20 years I needed to do a little research on whats out there these days. I stopped by several Car Stereo stores on my way home one day. It didn't take me long to figure out that I despise the assholes in that industry even more now that I did back in the 80s. Car Stereo salesmen are like used car salesmen rejects. Every product they are not pushing that day is a piece of shit, and what they do sell is the always the best stuff, according to them. They all tried to pooh pooh my plans for self-design and installation, and there was always some reason at every store I went to why they couldn't connect the items I wanted to hear up and let me listen to it there before I bought it.

So since I could not hear what I wanted in a store anyway, I moved my research to the internet, where at least I didn't have to interface directly with the human assholes. Crutchfield is a great place to do research, but it didn't take long to figure out they are also the most expensive place to buy. Any product you find there, google up or ebay the model number, and you can save yourself a bundle on the same exact product.

After comparing several different combinations of Amps / Subwoofers, I eventually decided to stick with an all Pioneer system.

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I made the speaker box myself. Its a 3-way setup with a pair of dome midranges, Pioneer Tweeters, and a Massive Crossover inside each box.

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I've been working on it for the last several weeks, and I have finally got it all installed.

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Its sounded pretty good, after I got all it properly setup and equalized. It was a bit too BOOMY until I put the seats and console back in. Its added a lot of detail over the previous gutless sound..... and when you punch it it will jump up and bite you in the ass. Feels like John Bonham is kicking the shit out of the back of your seat, and stays clear as bell on max volume.

So that all brings me to the point of this long ass post...... mobile source material.

For right now I have Redneck rigged my 1GB Creative Zen MP3 player to the RCA inputs on the back of the Pioneer head unit. Thats about 200 songs at your fingertips, but its become obvious to me, even after I have ordered another identical one, and a car USB charger, off ebay ...... that this is not the ideal long-term solution. 200 songs gets repetitive after a week or so, and reloading the player with new tunage every week is going to be a time consuming pain in the ass. I need a bigger one that will hold all my MP3s.

So now I have started to research my options. I hear IRiver makes the best sounding MP3 players, but the only one that Car Stereos, including my Pioneer Head Unit, are designed to interface with is an Apple IPOD. To the best of my current knowledge, with any other brand of MP3 player other than an IPOD you control song selection via the MP3 player's controls, whereas if I had a
Pioneer IPOD interface I could control everything via the head unit. Which I see now thats the best way to go. You dont have to worry about turning the MP3 player on or off every time you get in or out of the truck.

The trouble with IPODs, and the reason I have stayed away from them historically, is that Apple makes more money selling DRM protected music at their I-tunes store than they do on their overpriced hardware. They're business partners with the recording industry, and thus not particularily pirated MP3 friendly. With my Creative Zen I can simply drop and drag tunes from my hard drive directly on it, a playlist is simply a subdirectory you create on its flash memory. IPODs on the other hand can only be loaded via Apple's proprietary I-Tunes software. I understand that they have made more recent versions MP3 freindly, but you still have to use their software.

But I read an article this morning that changes everything.

New Ways To Steal Music

MP3s Are Being Replaced by Formats With Better Sound Quality


It's good news for audiophiles and networking companies, but more bad news for record labels. MP3s are slowly going away, being gradually replaced by a more sophisticated way of stealing music.

If after being away for a while, you return to the Internet locales that are hosts to music piracy--which goes by the euphemism of "file sharing"--you will quickly spot a number of new and unfamiliar kinds of files. These new formats go by names like FLAC and APE. They are "lossless" music formats that don't have to make the acoustic trade-offs associated with MP3s. Their growing popularity is evidence of how networks are getting faster and disk drives are getting bigger.

First, some background. The first track on the Beatles' "White Album," "Back in the U.S.S.R.," is 2:43 minutes long. On the recently re-mastered version of that CD, the music is laid out in 28.1 million bytes, aka 28.1 megabytes. When ripped uncompressed onto a computer, this produces what's known as a ".wav" file.

Back in the early days of the Internet, when 2400 baud dial-up modems roamed the earth, it would take more than an hour and a half to transmit that much information, assuming you could keep the connection going that long.

MP3s, however, were a way of dramatically shrinking music files, so they took up about a tenth as much space and a proportionately shorter download time. Suddenly, it became possible to get songs even by dial-up modems, which is how gained the traction that it did. Thus was born the digital music revolution.

MP3s, however, involved a bit of a devil's bargain, in that the process of making the file smaller involved throwing away musical information. Hence, you'll find many music and audio buffs who consider "lossy" formats like MP3s an abomination.

Lossless file systems, by contrast, preserve all of the music data associated with the original CD. They take up more space than MP3s, of course, but with network speeds and disk drives what they are today, you'd never notice.

These new lossless systems typically reduce a music file to 70% of its uncompressed, raw size. This isn't MP3-style compression, however. Instead, it's what happens with Zip files. Data is packed tightly to be stored on the disk, but gets unpacked on the fly, back to its original .wav length, in the process of being played.

All of these lossless music file systems can be played on most computers, though you will likely need to download some extra software. The iPod represents a challenge, though, since it doesn't support non- formats like FLAC, APE or EAC. Instead, iPods play Apple's own lossless format, as well as bigger .wav files.

Many computer enthusiasts balk at the Apple format, though, because the company doesn't disclose details of how the system works. By contrast, many of the others are open-source software projects, their internals available for all to see.

Worse still, for some, is the fact that Apple appears to be increasingly "locking down" each new generation of iPods to make it harder to use non-Apple files or software on them. A group of programmers have created "Rockbox" that "opens up" the iPod to other uses. You can install the program for free, but still revert your iPod back to its original condition if you don't care for the changes.

The one question everyone wants to know involves whether they can hear a difference between any of these formats. You're welcome to do some test listening yourself. Here are my predictions about what you might discover.

If your music listening is limited to an iPod and standard issue earbuds, you're unlikely to hear any difference at all among any of these formats, especially if your music taste runs to contemporary pop music, which is increasingly created with an iPod-like experience in mind.

If, however, you listen to music on a decent home music system, one with reasonable equipment that is properly laid out, and if you concentrate on what you're hearing, you may well find that a tightly compressed MP3 file, such as one made at 128 kilobits a second, will sound flatter and less "spacious" than one made at a higher rate, say 320 kilobits.

If you've got golden ears, you might be able to spot the difference between a high-quality MP3 (such one at 320 kilobits) and a completely lossless version of the same music. Don't be surprised, though, if you can't; in many cases, I haven't been able to tell them apart, even with my perfectly decent home system.

(Note to audiophiles, and you know who you are. None of this discussion applies to you.)

Not only are network connections faster, but disk drives are much bigger and cheaper. I recently spotted a Web site offering a terabyte external drive for $75, after a $20 rebate. That's enough room to store 35,000 copies of the uncompressed version of "Back in the U.S.S.R.," assuming you had some reason to want to do so.

Of course, if tech trends are enabling high quality music swapping, they're doing the same thing to movies. Not long ago, movies on the Web were low-grade formats that could only be watched with satisfaction on a laptop screen. You're beginning to see, though, full-blown Blu-ray movies on piracy sites. A typical one might be a whopping 35 gigabytes big, putting it out of the reach of many Web surfers.


California Mike and I were talking about this very subject on an archived thread just the other day. My 2000 song MP3 library fits on a 20GB Hard Drive with plenty of room to grow. His lossless collection, all legally ripped btw, takes up 2 terrabytes. I told him there that I didn't see myself upgrading to lossless formats until my bandwidth speeds increased, but now I think that day maybe coming sooner than I expected. That would justify me buying an MP3 player with a Hard drive much bigger than I had originally planned.

But the key to it all is that
RockBox firmware. You can now take any IPOD and replace its proprietary operating system with one that is more non-Apple formatted files friendly...... and I'm assuming it will still interface properly with Car Stereos designed for IPODs.

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It means basically that you can have every song you like at your fingertips, in perfect quality, via the controls of your Car stereo head unit. Wouldn't that have been cool in the 60s, 70s, and 80s ?