Harp tracks to play along with.

The plan is to put some songs up that relate to various harp keys.

The hope is that some of you out there will be willing to share song titles that you have found useful to work along with.

New Beginning

Good news; the practice room is back in operation with new sound baffling, thicker carpet to absorb the echo. The drummer has returned and I have been approached to work with another bunch of musicians who seem to want harmonica and vocals.

The vocal bit is a scary departure. Here is someone who goes weak at the knees at the thought of karaoke and won't even sing in the shower! So, how did that all come about?

Here's how it happened.

A while back, when I was still practicing with the old line up, a discussion broke out about 'Key to the Highway', the bass player said, "I don't know that one, how does it go?" so out of frustration I warbled out the first line.... "hey, you should sing!" someone chirped up, and that was it.

As a novice, how does one even consider starting?

Reasons for not writing.

Well, everything was going so hunky dory, I had drummer, guitarist, bass player, embryonic playlist and then it all went tits up!

It started when the bass player decided that this was not fitting in with her (fair enough), now the practice room is out of commission for three months because of building works.

For about four weeks I hit a low, couldn’t get inspired, tried to get the bass player back on the programme – failed. Drummer has gone abroad for a month. Then I decided to re investigate Big Walter Horton, now I’m more optimistic and motivated again, back to more disciplined practice really listening to Big Walter’s style!

Steve Earle – 2015 blues album, ‘Terraplane’.

Another new discovery.

Now I’ve always liked Steve Earle. I loved the ‘Copperhead Road’ album (particularly ‘Johnny come lately’ with the Pogues). He seemed to be the rougher, grittier edge of what I understood as country music. Steve Earle also made a decent fist of trad Irish music by writing ‘Galway Girl’. Lots of people think it’s an old song but it was actually penned by Earle when he was living in Ireland and working with Irish musicians.

But this new ‘Blues’ album is a different thing altogether.

There is an obvious clue in the title ‘Terraplane’. Reference to the old Robert Johnson song ‘Terraplane Blues’, in fact “ol’ Bob Johnson” gets a name check on the album.

Earle is obviously a believer of the concept that to sing the blues you’ve got to know the blues. Wrapped into the lyrical content of the album it’s easy to discover regrets, hard times, relationships broken, which is a pretty close reflection of what Steve Earle has been through in these last few years.

There are some sparkling tracks on this album; the pace changes constantly; it’s not all gloom and doom and certainly not all traditional 12 bar. ‘The Tennessee Kid’ is a spooky hard hitting epic growl retelling the Crossroads legend using the language of an earlier age. ‘Go Go Boots Are Back’ is a foot tapping rocker with a meaty guitar solo. ‘Ain’t Nobody’s Daddy Now’ is a freedom anthem.

The album is also a showcase for his musicians, ‘The Dukes’, some really impressive stuff going on with this band.

Ian Siegal.

Sometimes listening to Tim Aves on Saint FM can yield some interesting stuff (thanks Tim). The Gary Clark Jnr. Live album he recommended has been a real treat. But my ears pricked up when I heard a track by Ian Siegal called ‘Only trying to survive’. I then stumbled upon the Siegal album ‘The Picnic Sessions’ on which the aforementioned track features.

Here is an interesting album, seemingly performed live and informally, almost campfire style, entirely acoustic, lots of banjo and excellent guitar playing from Siegal. His raspy raw singing style grows on you, but the songwriting skills and witty delivering are entrancing and engaging. But Siegal is a Brit, I wonder how that goes down across the pond? I intend to track down more work by Ian Siegal. I have one reservation in that I feel that he gravitates towards Country and what is often referred to as Americana; I have to struggle with my prejudices against country music, I groan when I hear twee overly sentimental Country crooning, one or two tracks on the ‘Picnic Sessions’ album lean dangerously close to these problem areas – ‘Gallo Del Cielo’ is one such track; Siegal didn’t write it, maybe American audiences like that brand of cowboy song?

There’s another track called ‘Talking Overseas Pirate Blues’, to me the addition of ‘Blues’ to the title is a tad misleading – every time I hear it I think of the title theme to that old American TV comedy series ‘The Beverly Hillbillies’, what was he thinking?

 I played my favourite track ‘Only trying to survive’ to a friend; I asked her what she thought? She dismissed it as sounding too much like Chas and Dave; a little unfair.

I don’t care what anyone say, I like it!

Ian Siegal.

‘Do the Hip Shake’.

Band members have been looking at this particular track. I really like it but it is a little more elusive than I originally thought it might have been.

The original is by Slim Harpo; it has all the Harpo trademark qualities, in that the lyrics are relatively simple, there are no hidden depths or profound messages in there, it’s pure hedonism, sheer indulgence.  In most versions and covers there’s a rattling, rapid fire drum intro and an equally fast harp riff. But it is the alternative versions and interpretations that make it elusive.

Th’ Shack Shakers Rockabilly version is a strong energetic piece. I found a live version on Youtube which I found great to listen to, but painful to watch. The front man’s antics were totally cringeworthy; stripping his shirt off and (I kid you not) ostentatiously picking fluff out of his navel and then shoving his hand down his pants! But I did like the song.

https://www.youtube.com/watch?v=vTBIWLvR8c8

Son of Dave version is also a winner.

https://www.youtube.com/watch?v=rrUyVE-iyzg

New Mic.

It was inevitable, I had to get a proper mic.

I have just bought a Superlux D112/C harmonica mic. I was struggling of the bog standard vocal mic and wanted something to give me ‘the sound’. The Superlux is not in the same price brand as the Shure or the Shaker mic but I have to say I am impressed.

As I mentioned before I have a soft spot for good design. For me the Superlux ticks many of the boxes. Before I get on to the functionality I must say the look and the feel of the mic is just right. One website reviewer commented that the all metal body made it heavy, I would disagree; it feels pleasingly substantial in the hands, like a real piece of kit. The finger grooves in the top suggest to me that the designers gave some thought to usability and it is the right size for cupping.

There is a volume knob fitted into a recess in the body of the mic, this gives an additional control element, although it is quite easy to accidentally knock the settings, but I suppose that comes with practice.

The cable is fixed to the body; I can think of certain advantages, but the disadvantages are minimal.

The sound difference between this mic and the bog standard mic is considerable. There is a deeper tone and resonance, closer to the Little Walter sound (although the playing is nowhere near).

In all, a good purchase.