Kind of like Bread's "I wanna make it with you", and durned if I can adequately explain it to a rythm section that's been struggling with it.

Thanks for any inf.

4/4 at 70bpm is about my "real take" on it, but the bass figure would have to be mostly triplets, or it sounds like a "march". When I tell these drummers "4/4" the "Boom-Chuck" bone seems to take over. 2/4 and it gets Waylon Jennings-ing.

SG. I know, that's why I mentioned 12/8, because all the guitar licks could be considered triplets, (making it 12/8) and then the bass could be figured as triplets.

I spend so much time just playing these old tunes that I forget sometimes the time signature intent died with the people that did them..

EJL

[This message was edited by Eric West on 22 February 2004 at 03:12 AM.]

the rythmn guitar seems, if memory serves to be 2 followed by a triplet 3 over 4.

They really need to listen to it several times. It is quite distinctive.

And a very sweet tune too.

I have an Allman's compilation and they did one true latin jazz rock tune at it is quite nice. And also a surprise.

DLD, I think it's just a matter of when we got stuck in the marsh...

EJL

[This message was edited by Eric West on 22 February 2004 at 03:42 PM.]

one-and-TWO-and-three-and-FOUR-and...
hat-hat-SNARE-hat-hat-hat-SNARE-hat...

a straight 4/4

That's a beautiful song. Are you adding it to your setlist, Eric?

edit:
Okay I think I got it right this time

The intro guitar part is

One, Two, Three-e-and, e-and... One, Two, Three-e-and, e-and ...

Broken up by beat that's
1: 1 quarter note
2: 1 quarter note
3: 3 sixteenth notes, 1 rest sixteenth note
4: 1 rest sixteenth note, 2 sixteenth notes, 1 rest sixteenth note

On the ascension sections, and particularly prominent on the following lines
Again, the mornin's come
Again, he's on the run
Sunbeams shinin through his hair
Appearin not to have a care
Well, pick up your gear and gypsy roll on
Roll on

The rhythm of the guitars goes
One and-a Two and-a Three and-a Four and-a...
Where all the beats have 1 eighth note, 2 sixteenth notes.

[This message was edited by Chris Lasher on 22 February 2004 at 01:01 PM.]

Another master of 'open ended" time feel was/is Sting. The Seventh wave, is a good example of this.

(Another GREAT song like this (with a different sig)is 'Sit Down you're Rocking the Boat' by Henley.)

Bum budda bum Bum budda bum Bum, or a 4/4 with a Bum Bum Bumbudda, or triplet oriented bass figure is as close as I got....

After two years of GI Bill Music Study a score of years ago you'd think I'd come up with something a little more 'edjukated'..

It was written many years ago by Frank Loesser for the musical "Guys and Dolls." It is sung at the mission by Nicely Nicely Johnson, as I recall.

JB

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Fulawka D-10 9&5
Fessenden D-10 8&8
"All in all, looking back, I'd have to say the best advice anyone ever gave me was 'Hands Up, Don't Move!"
www.johnbarnold.com/pedalsteel
www.buddycage.net

http://www.nrpsmusic.com/index.html

The rhythm guitar plays this figure on the Intro:

1      2      3 e + (ah 4)e + (ah)

(do not strum beats in parenthesis)

Great song!

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My Site - Instruction | Doug's Free Tab | Steels and Accessories

[This message was edited by Doug Beaumier on 22 February 2004 at 07:13 PM.]

Since I've had it locked in what's left of my brain for 30 years with alchohol and chemical assistance, it's unlikely that it will go away before all my other faculties.

I'll be the only guy in the rest home that will be able to play "San Francisco Nights", and the Ocarina Solo note for note on "Wild Thing".

So it goes..

"Here we all are, having a lovely time and everything is groovy." -flip side of SFN-

EJL

[This message was edited by Eric West on 22 February 2004 at 09:46 PM.]

What have been smoking?

:>)

Melissa = 4/4

cheers,
Drew

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The Saltines

I was playing 7/4, 2 different times Sunday night, and it feels different than that.
Then again the musics were written about 100 years or more apart, and about 50bpm different too.

Sunday several were also in 7/8 and 1 in 13/8, it was an interesting evening.

[This message was edited by David L. Donald on 02 March 2004 at 01:44 PM.]

quote:

---

Though they might have been considered a jam band there is very much technical consideration to their music.

---

I became a _huge_ fan of the ABB, although Duane had already died before I knew who he was. I envy your having heard them a number of times when he was alive. When I was a teenager, I consented to go with my family on a vacation to Florida, provided they allowed me to make the pilgrimage to Rose Hill Cemetary in Macon, on the way.

I remember reading once, where Duane said something to the effect that everyone in the band knew exactly where they were supposed to be all the time. Listening to post-Duane albums of things recorded when he was alive, early things like "Live at Ludlow's Garage," and contrasting those with "Live at Fillmore East" and "Eat a Peach," one can hear how the actual pre-planned structure of some of their classic longer tunes evolved over time. Like you suggest, the phrase "jam band" probably doesn't sum up the ABB very well. Although accurate in the sense that they did long tunes with a fair amount of individual improvisation, the term might also imply that they either just made up everything as they went along, or just used simple repetitive vamps to do long solos over.

In reality, they created some of the most structured and challenging arrangements in rock of that period.

Berry Oakley was a very underrated player, but such great grooves he laid down.

And the drummers were content to groove all night and never really do "drum breaks", but when a musical kick was needed they were totally with the frontline.

BTW: What is the time signature for Little Feat's "Day at the Dog Races"?

The thing that amazed me then (and now) was that Gregg sounded so world-weary at 20 years old!

And those two drummers have always been locked in together. The drumming and bass playing has been a major component of their sound from the beginning.

I saw them on a DirecTV "freeview" a few months back, and they are better than ever with Warren Haynes and Derek Trucks. Just amazing!

Rick

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Rick McDuffie

Marlen Speedy West, Marlen SD-10, Fender Telecaster Custom, Fermandes LE2G

[This message was edited by Rick McDuffie on 03 March 2004 at 07:15 AM.]

I just put on The Road Goes On Forever.
Melissa is 4/4, with odd accents, but still 4.

Little Martha is SOOOO sweet.

Now Hot'Lanta smokes me, just nail you to floor and slap you silly.

And how bout a hint of where they might have been going ; Pegasus.
It hints at Duane playing with Carlos Santana and turning into a major jazz fusion force.. without losing his roots.

[This message was edited by David L. Donald on 03 March 2004 at 08:42 AM.]

I agree... Revival was out of character. But I love those two guitars playing in thirds... and that bass line, man! What a tight band.

Gord- me too!

[This message was edited by Rick McDuffie on 03 March 2004 at 07:02 PM.]