guitar young guns
All these young guitar slingers,
They all think they're Stevie Ray Vaughn,
See how loud they can squeeze as many notes in each measure of each song,
Pentatonic madness,
Tattoos and a cowboy hat,
They think that playin blues don take nothin more than that,
Hello Satan, I dont believe its time to go,
Muddy rollin' over in his grave,
Cause the blues just aint the blues no mo'.
They all think they're Stevie Ray Vaughn,
See how loud they can squeeze as many notes in each measure of each song,
Pentatonic madness,
Tattoos and a cowboy hat,
They think that playin blues don take nothin more than that,
Hello Satan, I dont believe its time to go,
Muddy rollin' over in his grave,
Cause the blues just aint the blues no mo'.
Views: 9
Replies to This Discussion
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Permalink Reply by CHC Network on -
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Permalink Reply by Chad Nordhoff on -
I've played with Terry 'Harmonica' Bean a few times before. If the "young guns" described above get up on stage and start firing of a bunch of high speed nonsense, Terry will cut 'em down fast. He's skilled in bringing out the best in a BAND. These Mississippi guys don't tolerate these young hotshots the way people do in other areas. They have to know their place and wait their turn. Then... watch out!
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Permalink Reply by PEDRO WYANT on -
Hey Chad,
I sent you an invite on your page but the message was too long and it cut me off. Listened to "Poor Boy" and "Aint Got a Prayer" and I wanna tell you thats among some of the finest stuff Ive heard in a long time.Great stuff! You are one talented young man, keep it going!
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Permalink Reply by Chad Nordhoff on
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Hey, Thanks Pedro. I do appreciate your kind words.
As for the young guns, I have noticed a trend toward individual style and a little less of the Stevie clone thing going on. The young guys in the video above are (or have been) students at the delta blues museum in Clarksdale, MS. They teach them how to play a part and not try to steal the show. Let the record show that it's working.
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Permalink Reply by PEDRO WYANT on
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Hey Chad,
I saw both videos and liked them a lot, these kids have good teachers, they are playing what seems to fit to put the song over. Im coming out with some instructional videos on blues guitar and the 1st 2 chapters are almost all comping. I tell my kids that we play accomp. 95% of the time on stage, maybe 5% solos. But what do we practice? 90 something percent solos and a coupla chords maybe. "Not to steal the show" is what comping is all about, to not bring attetion to what we are playing, but to support whoever is singing or soloing. With my young guys one of the hardest things is to get them to stop burying their head in the neck, listen and watch whats happening on stage.
I hope your right about the individual style thing, Im pretty removed from blues up in the states now but I see them gunners almost everytime somebody tells me "Ya gotta hear this guy"! Do you teach at the Delta museam? Seems to me you have a lot to share, my man.
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Permalink Reply by Chad Nordhoff on
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I don't have the patience for teaching by any stretch. I barely have the patience to practice. I do generally spend 20+ hours a week playing solo on stage. That's 100% comp and 100% solo. A person will come across a few new tricks that way. When I'm around musicians that know me I'm often invited to "steal the show" for a few minutes at a time. They know they'll get it back. I do well not because I'm so flippin' fantastic, but because I know from experience how to manage my time and space. It's not about guitar licks by the barrel full. It's about tension and release.
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Permalink Reply by PEDRO WYANT on
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Yeah Chad,
Maybe you dont have the patience, but what you do Im sure is inspiring to youngsters that hear you, and want to do what you do. Pretty much the same thing. And whether its stuff closer to the roots that you play, or "flippin fantastic" playing a groovin' solo in the urban style, its all tension and release, the magic formula for any form of entertainment, be it a good book, a Hitchcock movie, a hot date with a screamin' mamacita, a good blues solo, or puttin'' over a great vocal performance, tension and release is the key.
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Permalink Reply by CHC Network on
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Permalink Reply by CHC Network on
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Permalink Reply by PEDRO WYANT on
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Thanx so much for sending these wonderful videos, I watched and liked each one, and so nice to see these yungins' carrying on the accoustic tradition. Little Joe McLaren fits in well with this group, plays really nice piedmont kinda stuff.
My comment wasnt aimed at these kids at all. I recently viewed some of the videos that were presented on the"Who is the next great Blues Guitarist"discussion.. Some are quite good but so many are SRV clones. Nothing against Stevie, he was great, but so many young ones are taking this kinda blues on steriods concept and really just keep regurgitating that style. The great names in blues were so because of their originality, B.B. doesnt sound like Freddie, who doesnt sound like Albert, who doesnt sound like T-Bone,etc. When I hear a new player, I want to hear THEM and not Albert King solos played cut time. Any "next great blues guitarist", if there is a need for such a thing, should have something of his/her own to say. Seeing how fraseless you can burn pentatonic scales, to me, seems to miss the heart of the work of our grandpappys
Thanx for restoring my faith in the youngsters.
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Permalink Reply by R. J. Whetstone on -
What I see on local stages are impersonators and mimics with few original creators among the throng of guitar players who fancy themselves as musicians. There are many blues posers who have access to a limited repertoire and even less technique. All players seek and find their own level of competency. Beyond that, it depends upon their drive and tenacity to push themselves beyond mediocrity.
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Permalink Reply by R. J. Whetstone on
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Little Joe McLerran certainly represents a unique talent for Piedmont blues styling. Most of the songs he performs are from 1920 to 1940, according to him. Link to LittleJoeBlues.com for more information...
In another direction...
I agree with you, Pedro, that there are those who approach the blues with a foundation and from there proceed to interpreting their own statement with fresh ears. To copy is a compliment to the originator, ...to create takes talent and ability to phrase, communicate and express themselves in a original and refreshing way. Many practicing guitarists are rushing into copying and not creating. Impersonators with no originality...of course, early on that is all most have to build a foundation from.
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