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My `snake charmer tune` as Bill Hatcher said when
he first heard it. The basic idea came from a C7b9-based progression I
was messing with. Usually when I write instrumentals I start by finding
harmony first and then gong from there. The tune has a bit of nastiness
about it, hence the title.
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At the time this was written, I was
playing with Jez Graham and he had a tow truck that was in his
drive way. He put it in the wrong gear and it ended up in his living
room! The track started with a bass line and the harmony came next
before the melody. Jez was very good natured about the whole thing
I must say.
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September 11. This was my little
tribute to all the people who acted so courageously in this dark
time.
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Just a little ditty that is light and fun.
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I had just heard EricJohnson in concert and he played a song that inspired this. I came home that
night and started working on it. It took a while to get all parts
together as I was constantly editing it to make it sound cohesive
between sections.
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At the time I was on the
road a lot driving to Montgomery, AL to get on tour bus and travel around
with original rock band Rat Race. I initially came up with words and
melody before I ever picked up a guitar and worked out the
chords.
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The title comes from the fact that it
sounds nice and then when it gets to the C section the attitude
changes a little bit.
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I started by messing with a bass line,
then harmony came. As the songs shift between time signatures a few
times with 10/4 being the most prevalent, I chose the title to
play off the 10/4 good
buddy jargon. I like odd time that doesn`t feel jerky and tried to
accomplish that with this tune.
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I was encouraged to continue writing by
an old girlfriend named Sue, and this was the song I was working
on at time. Holdsworth is definitely the inspiration for this
as he writes songs where the melody is inside the chord progression
itself. On that note, I truly hope that he will get his just due as one
the great musicians/composers of the 20th century. He is so
original and uncompromising, and truly deserves to be mentioned
with ANY of the greats - just my opinion, of
course.
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I had a student that was working on Bron-Y-Aur
by Jimmy Page and one night I was playing around with this tuning and
You came out. The original recording is very different than this
live one. I asked Michael Meredith to "interpret" this live for me. The
original was tracked by Michele Malone in 3 part harmony and has a
certain vibe. This take is more direct and also nice with the
percussion and keys adding nice touches.
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Everybody needs it once in a while; right?
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Once again the harmony was the center
piece for this. I like the sound of chords happening with different
bass notes occurring. This was a case where the melody is made
interesting by that harmony. The theme keeps coming back and that is
the reason for the title.
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