Just want to say upfront -apologize in advance for this long post
A drummer friend of mine asked me to do a little garage jam with a guitar player he met that recently moved into the area. Seemed like nice guy at first and decent player that knew a lot of songs from the 60's and mid 70's and oddly no cover songs from the late 70's forward. After the jam .....we both felt that there may be an odd quirk regarding his personality and we decided not to do a second jam. Basically talk talk and more talk. I found out later that he had been calling my friend 3 times a day for a week to do another jam until my friend told him that it was not going to work out. Anyway, the jam became less about playing music and more about this 60 year old guitard telling name dropping stories about his glory days. I had wished he could have played as good as the stories (again all from the 70's) but by the end of jam it all started sound like a bunch of BS. Don't know where he has been the past 30 years but thought you all may get a kick out of his CL ad he posted last week looking for musicians. Playing with him reminded my of that old story Rip Van Winkle.
.................................................................................
I am a professional lead guitarist/ lead vocalist available in XXXXX looking to play as often as possible.
I feel that a day I dont play music is a band day...it is part of my soul.
In the 70s, 80s there were house Bands. We played 5 sets/night, 6 nights/week, at the same club for 4 6 months straight. We knew enough songs we could play a week without repeating a song. Of course, requests were always repeated...
I played the Attic in MDR for over a year, then our band bought the club with the money I made part-time in real estate when I got my real estate license in 1975. I still own my company, so I have flexible hours.
I am happy to play anywhere, anytime and I dont care if I dont get paid (it would be nice to get at least some gas money, though).
I have wheels, amps & 2 P.A.s of different sizes. I prefer to play parties, wedding receptions...I played every venue there is. A high-school prom, college parties on the Queen Mary, at frat & sororities, weddings, beach parties, parties out in the desert with generators, 5,000 - 8,000 person concerts in huge venues when I was signed to Crescendo Records and my songs were on KLOS, Gazzarris for years, Starwood, nearly every bar in L.A. county.
My first record on Original Sound Records was a blues song when we were the house band at The Topanga Corral. Taj Mahal sat in with us a lot and Neil Young took us to parties at his house after hours. I could go on but I think you get the idea.
I became a recording engineer, starting at Wally Hider Studios in Hollywood and was chief engineer for 3 studios for 5 years, studying engineering as much as possible.
I then bought my own 2 tape analog Ampex MM1200 24-track machine and a 36 track board plus a ton of outboard equipment.
As I had designed and wired Canned Heats Studio in Mar Vista for Fito de la Parra and engineered there for a year, I had no trouble designing and plugging in every wire (I majored in electronics in college).But I missed the stage so I formed new bands.
But the L.A. music scene fell apart (pay to play? What a rip-off!. A different band every night? House bands were good because the fans knew where you were every night. My bands always packed where we played.)
And L.A. became just too dangerous and smoggy so I moved here to wonderful Ventura Beach.
I hope to find some pro musicians who just miss playing like I do and want to get together, or even better yet, a classic rock/(maybe some original &/or some blues) band that plays regularly and need a singer/guitarist..
I own my own real estate company so my time is flexible.
My favorite styles are The Stones, Hendrix, Petty, Kinks, Tull, ZZ Top, Aerosmith, Van Morrison, Zep, Aerosmith, etc. and all blues. I have been told I do a great Joe Cocker (The Letter, Unchain my heart).
I know the words and chords to over 900 songs.
For your convenience, I could fax or email a short list of about 100 Classic Rock & Blues songs which I can sing.
I have been signed to several record contracts. I wrote & sang my original for Crescendo Records (Kim Fowley was our producer), who picked an option for another year.
PLEASE, no egos, drugs, amateurs. At least one, if not two other lead singers besides me is a must to really astound people when we play. Vocal power is as important as being able to play instruments proficiently. When faced with auditions with other bands, we always got the gig because we had 2 or 3-part harmony. The other bands could play just as well, but has only one singer.
I can play from soft rock to power rock! But if we cant move the people, we have no right to be in the place. We should practice until we are tight and amazing. With pros, that should not be too hard to do.
There are so many songs to be played. I feel any one band member can veto a song if that person really hates it. There is nothing worse than hearing grumbling when starting a song. A band of musicians should be happy with every song, thusly making the sound truly great.
I played with Taj Mahal, John Lee Hooker, Canned Heat, Alice (Vince Fernier) Cooper; lots of Rock Stars. Van Halan opened for us for years on the Sunset strip where I played Gazzarris for 8 years. I booked the band to 5000 8000 person dance concerts (Hot Lucy, Hammerhead w/ Kim Fowley producing) for years.
Many managers/agents in L.A. seem to be crooks so I did the booking myself. Built the light show, printed the flyers, drove the roadies around to staple flyers up (now we have the internet) Built the fire show.
About 3 years ago my band played a charity (The Peace through Music Foundation) at the Ventura Majestic Theatre. After the sound check, we walked around and thought What a great place to live. So I escaped from L.A.
I have loved living in Ventura these past 2 years! But I want to connect with pro musicians here.
I have 4 different sized amps; all old tube amps with a great bluesy-rock sound for the respective sized rooms and 2 P.A. systems.
That concept, not playing too loud, is how we kept many jobs. Being great is not good enough if you blast everyone out.
A good band plays like a well-oiled machine together. Listen to each other. And at a volume that does not hurt everyones ears.
Thats the idea of smaller amps for smaller venues...my 1965 Fender Deluxe-Reverb amp can be turned up for power sound but not be too loud for a club. The 1965 Silvertone with the 12 Jensen speaker (with 2 6V6 power tubes) is perfect for house parties. It has a great blues rock sound when cranked up without being loud. What a classic amp! The 1972 Marshall 100-watt is for outside gigs.
Vocals are a must.
A band with 2-3 strong singers will always be hired before a band with only one vocalist (unless you have Jim Morrison as your lead singer).
My style of singing is like Cocker, Steve Miller, George Thorogood, John Fogerty, Mick Jaeger, ZZ Top, Petty, Kinks, and the rough Blues stuff.
I can harmonize on Fleetwood Mac (and other) songs as well. (Go your own way, Double Vision)
If its OK with everyone else, I also like the idea of anyone in the band coming up with ideas to make the song we play our own.
For instance, at the end of double vision, I have this idea which worked out very well. At the end of the song, we stay on the Am Dm in a sort of calypso-rock beat, softly at first. Then I inject blues lead here and there, leaving lots of room to breath. The riffs and we all build as I work my way up the neck until the whole band reaches a climatic ending.
I did that at the Light House and we got an 8-minute standing ovation from a full house!
If there is another guitarist, harmonies are great as well as trade offs, known as call & response. You play a measure; I play a measure, back and forth if that works for you.
Another idea I have and it works; in the middle of a cover other song, let the song fall apart momentarily, for about 4 5 seconds, and then jump back in again. Not long enough to lose any dancers. It makes the cover song our own. Use that on one or two songs...just a thought.
I play a lot of charities free. I played for HBO at Joe Powlinas Boxing Club on La Brea & Wilshire, to raise money for a blind school. Lots of big-shots were there. Open sushi & alcohol bar. We played in one of the boxing rings. We were one of 3 bands.
That makes me feel good inside, knowing I raised money for a good cause.
Lately, my best friend of many decades, Fito de la Parra (Canned Heats drummer) and I have been playing for a non-profit school who teach kids who cannot afford lessons. We play events to bring money in for the school. It is a shame music has been dropped from many schools curriculum.
Ego trips disrupt the continuity and pleasure of the music. So does excessive alchol. The only time I drink is I nurse a light beer just to wet my whistle for vocals; never enough to get drunk. That would interfere with the music.
I am easy to get along with, so lets try it out and see how it sounds.
I am available every day at any time.
I dont need to be The Star. Been there and done that. I am happy to play as best as possible and never step on other peoples toes.
I don't, however, just stand there like a cardboard cut-out like some bands I have seen lately.
I move around with the music. The band should put on a show. I even have seen bands reading the words from a book on a music stand because they can't memorize the words. Might as well just put up cardboard cut-outs of musicians and just play a CD through the speakers!
In the studio is Richard Diamond, an incredible rock drummer from my previous band Hot Lucy - By the way, Lucy is what I named my a 1972 Gibson SG Deluxe, I used to set her on fire (thus the name Hot Lucy) - just the back - at the last note of the end of each show.
Lighter fluid burns at a low kindling point so it never hurt the finish but it was very effective holding the flaming back over my head while the band holds out the last note of the last song and I say into the mic while holding the flaming guitar over my head "Thank you (insert name of city) We Love you!!! But that was only for big dance concerts. I wouldn't do that in a club.
-Richard may be potentially available for any project I put together-. The bassist is Stephan Ellis, bassist for Survivor.
I just want to play some good ol Rock & Roll. I am looking for pros who want to do the same.
Lets try it out and see how it sounds!
A drummer friend of mine asked me to do a little garage jam with a guitar player he met that recently moved into the area. Seemed like nice guy at first and decent player that knew a lot of songs from the 60's and mid 70's and oddly no cover songs from the late 70's forward. After the jam .....we both felt that there may be an odd quirk regarding his personality and we decided not to do a second jam. Basically talk talk and more talk. I found out later that he had been calling my friend 3 times a day for a week to do another jam until my friend told him that it was not going to work out. Anyway, the jam became less about playing music and more about this 60 year old guitard telling name dropping stories about his glory days. I had wished he could have played as good as the stories (again all from the 70's) but by the end of jam it all started sound like a bunch of BS. Don't know where he has been the past 30 years but thought you all may get a kick out of his CL ad he posted last week looking for musicians. Playing with him reminded my of that old story Rip Van Winkle.
.................................................................................
I am a professional lead guitarist/ lead vocalist available in XXXXX looking to play as often as possible.
I feel that a day I dont play music is a band day...it is part of my soul.
In the 70s, 80s there were house Bands. We played 5 sets/night, 6 nights/week, at the same club for 4 6 months straight. We knew enough songs we could play a week without repeating a song. Of course, requests were always repeated...
I played the Attic in MDR for over a year, then our band bought the club with the money I made part-time in real estate when I got my real estate license in 1975. I still own my company, so I have flexible hours.
I am happy to play anywhere, anytime and I dont care if I dont get paid (it would be nice to get at least some gas money, though).
I have wheels, amps & 2 P.A.s of different sizes. I prefer to play parties, wedding receptions...I played every venue there is. A high-school prom, college parties on the Queen Mary, at frat & sororities, weddings, beach parties, parties out in the desert with generators, 5,000 - 8,000 person concerts in huge venues when I was signed to Crescendo Records and my songs were on KLOS, Gazzarris for years, Starwood, nearly every bar in L.A. county.
My first record on Original Sound Records was a blues song when we were the house band at The Topanga Corral. Taj Mahal sat in with us a lot and Neil Young took us to parties at his house after hours. I could go on but I think you get the idea.
I became a recording engineer, starting at Wally Hider Studios in Hollywood and was chief engineer for 3 studios for 5 years, studying engineering as much as possible.
I then bought my own 2 tape analog Ampex MM1200 24-track machine and a 36 track board plus a ton of outboard equipment.
As I had designed and wired Canned Heats Studio in Mar Vista for Fito de la Parra and engineered there for a year, I had no trouble designing and plugging in every wire (I majored in electronics in college).But I missed the stage so I formed new bands.
But the L.A. music scene fell apart (pay to play? What a rip-off!. A different band every night? House bands were good because the fans knew where you were every night. My bands always packed where we played.)
And L.A. became just too dangerous and smoggy so I moved here to wonderful Ventura Beach.
I hope to find some pro musicians who just miss playing like I do and want to get together, or even better yet, a classic rock/(maybe some original &/or some blues) band that plays regularly and need a singer/guitarist..
I own my own real estate company so my time is flexible.
My favorite styles are The Stones, Hendrix, Petty, Kinks, Tull, ZZ Top, Aerosmith, Van Morrison, Zep, Aerosmith, etc. and all blues. I have been told I do a great Joe Cocker (The Letter, Unchain my heart).
I know the words and chords to over 900 songs.
For your convenience, I could fax or email a short list of about 100 Classic Rock & Blues songs which I can sing.
I have been signed to several record contracts. I wrote & sang my original for Crescendo Records (Kim Fowley was our producer), who picked an option for another year.
PLEASE, no egos, drugs, amateurs. At least one, if not two other lead singers besides me is a must to really astound people when we play. Vocal power is as important as being able to play instruments proficiently. When faced with auditions with other bands, we always got the gig because we had 2 or 3-part harmony. The other bands could play just as well, but has only one singer.
I can play from soft rock to power rock! But if we cant move the people, we have no right to be in the place. We should practice until we are tight and amazing. With pros, that should not be too hard to do.
There are so many songs to be played. I feel any one band member can veto a song if that person really hates it. There is nothing worse than hearing grumbling when starting a song. A band of musicians should be happy with every song, thusly making the sound truly great.
I played with Taj Mahal, John Lee Hooker, Canned Heat, Alice (Vince Fernier) Cooper; lots of Rock Stars. Van Halan opened for us for years on the Sunset strip where I played Gazzarris for 8 years. I booked the band to 5000 8000 person dance concerts (Hot Lucy, Hammerhead w/ Kim Fowley producing) for years.
Many managers/agents in L.A. seem to be crooks so I did the booking myself. Built the light show, printed the flyers, drove the roadies around to staple flyers up (now we have the internet) Built the fire show.
About 3 years ago my band played a charity (The Peace through Music Foundation) at the Ventura Majestic Theatre. After the sound check, we walked around and thought What a great place to live. So I escaped from L.A.
I have loved living in Ventura these past 2 years! But I want to connect with pro musicians here.
I have 4 different sized amps; all old tube amps with a great bluesy-rock sound for the respective sized rooms and 2 P.A. systems.
That concept, not playing too loud, is how we kept many jobs. Being great is not good enough if you blast everyone out.
A good band plays like a well-oiled machine together. Listen to each other. And at a volume that does not hurt everyones ears.
Thats the idea of smaller amps for smaller venues...my 1965 Fender Deluxe-Reverb amp can be turned up for power sound but not be too loud for a club. The 1965 Silvertone with the 12 Jensen speaker (with 2 6V6 power tubes) is perfect for house parties. It has a great blues rock sound when cranked up without being loud. What a classic amp! The 1972 Marshall 100-watt is for outside gigs.
Vocals are a must.
A band with 2-3 strong singers will always be hired before a band with only one vocalist (unless you have Jim Morrison as your lead singer).
My style of singing is like Cocker, Steve Miller, George Thorogood, John Fogerty, Mick Jaeger, ZZ Top, Petty, Kinks, and the rough Blues stuff.
I can harmonize on Fleetwood Mac (and other) songs as well. (Go your own way, Double Vision)
If its OK with everyone else, I also like the idea of anyone in the band coming up with ideas to make the song we play our own.
For instance, at the end of double vision, I have this idea which worked out very well. At the end of the song, we stay on the Am Dm in a sort of calypso-rock beat, softly at first. Then I inject blues lead here and there, leaving lots of room to breath. The riffs and we all build as I work my way up the neck until the whole band reaches a climatic ending.
I did that at the Light House and we got an 8-minute standing ovation from a full house!
If there is another guitarist, harmonies are great as well as trade offs, known as call & response. You play a measure; I play a measure, back and forth if that works for you.
Another idea I have and it works; in the middle of a cover other song, let the song fall apart momentarily, for about 4 5 seconds, and then jump back in again. Not long enough to lose any dancers. It makes the cover song our own. Use that on one or two songs...just a thought.
I play a lot of charities free. I played for HBO at Joe Powlinas Boxing Club on La Brea & Wilshire, to raise money for a blind school. Lots of big-shots were there. Open sushi & alcohol bar. We played in one of the boxing rings. We were one of 3 bands.
That makes me feel good inside, knowing I raised money for a good cause.
Lately, my best friend of many decades, Fito de la Parra (Canned Heats drummer) and I have been playing for a non-profit school who teach kids who cannot afford lessons. We play events to bring money in for the school. It is a shame music has been dropped from many schools curriculum.
Ego trips disrupt the continuity and pleasure of the music. So does excessive alchol. The only time I drink is I nurse a light beer just to wet my whistle for vocals; never enough to get drunk. That would interfere with the music.
I am easy to get along with, so lets try it out and see how it sounds.
I am available every day at any time.
I dont need to be The Star. Been there and done that. I am happy to play as best as possible and never step on other peoples toes.
I don't, however, just stand there like a cardboard cut-out like some bands I have seen lately.
I move around with the music. The band should put on a show. I even have seen bands reading the words from a book on a music stand because they can't memorize the words. Might as well just put up cardboard cut-outs of musicians and just play a CD through the speakers!
In the studio is Richard Diamond, an incredible rock drummer from my previous band Hot Lucy - By the way, Lucy is what I named my a 1972 Gibson SG Deluxe, I used to set her on fire (thus the name Hot Lucy) - just the back - at the last note of the end of each show.
Lighter fluid burns at a low kindling point so it never hurt the finish but it was very effective holding the flaming back over my head while the band holds out the last note of the last song and I say into the mic while holding the flaming guitar over my head "Thank you (insert name of city) We Love you!!! But that was only for big dance concerts. I wouldn't do that in a club.
-Richard may be potentially available for any project I put together-. The bassist is Stephan Ellis, bassist for Survivor.
I just want to play some good ol Rock & Roll. I am looking for pros who want to do the same.
Lets try it out and see how it sounds!
