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Post by steadyrollinman on Jan 26, 2008 15:51:33 GMT
I've been listening to Martin Simpson's version of "I just can't keep from crying sometimes" written by Blind Willie Johnson. The slide work is particularly beautiful. I can't work out whether its played on ordinary accoustic guitar, or a resonator.
Could someone confirm which?
Chris
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Post by Stevie on Dec 30, 2008 1:29:37 GMT
"Ordinary" acoustic guitar? My money's on it being a Sobell (probably the signature version) as against a reso but, I regret, no confirmation. Is there any significance in the fact that Stefan is (possibly) the only luthier around who feels no compulsion to put his name on the headstock? I have studied the CD insert with my specs on and there is a reference to a National lap steel but not on that track. May I suggest a listen to the "Bootleg USA" CD by Martin for some more superb slide work? Stevie.
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Post by Michael Messer on Dec 30, 2008 12:26:58 GMT
Hi Chris,
Martin has recorded with resonator guitars, but when I saw him recently he said he no longer owns a resonator instrument.
Shine On Michael
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Post by Gerry C on Dec 30, 2008 12:40:44 GMT
Last time I saw Martin in concert he played this piece on his Sobell, with his Highlander pickup plugged in and a mic (I think a Shure SM57) in front of the guitar and it sounded pretty much like the recording. The piece is played in Csus4add9 tuning , which is CGCFCD, low to high, with a capo on fret 2. If you can get hold of the Sound Techniques Guitar Maestros DVD featuring Martin, you'll see him playing this song - and using an E-Bow on the intro!! The May 2004 edition of Acoustic Guitar contained a transcription of Martin's arrangement, and this may still be available on the AG website archive. If you want to learn the tune and can't obtain this, PM me. Alternatively, if you go to Martin's website you'll find a (very long!) list of the tabs he has available of his arrangements. Cheerily, Gerry C
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Post by Michael Messer on Dec 30, 2008 13:27:35 GMT
I just realized that this thread was started a year ago!!!! It took a while, but we did respond ;D
Shine On Michael.
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Post by Gerry C on Dec 30, 2008 15:01:20 GMT
That's really odd! Is there any reason why this should just suddenly appear, or could there be a fault with the date & time register software? I would probably not have noticed it at the time given in January last as I was in New Zealand, but otherwise I'm sure I'd have picked it up, being a bit of a Simpson fan...
Cheerily,
Gerry C
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Post by Michael Messer on Dec 30, 2008 15:08:09 GMT
I thought so too! But it is not odd, G4vrr just found the thread and got it going again. A slow burning conversation.
Shine On Michael
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Post by Stevie on Dec 30, 2008 17:17:32 GMT
Martin Simpson was responsible for re-awakening my interest in the guitar. Finding out about the alternative tunings was like being given a whole new road map for me. I have always respected "precise" slide players over "thrashers" if you know what I mean. EG, Lowell George on "Willin' " and a lot of Ry Cooder. Martin's work is of the precise persuasion. I describe it as the same effect that you get from video, the brain fits in what it wants to see and disregards the rest so you can get away with lower resolution than you would need for a still shot. So it is with mega vibrato slide work, I reckon that the brain filters all the changes in frequency and hears just what it needs to hear (George Thorogood(sic) anyone?) This is most definitely not for me a case of the one being better than the other way, I wouldn't be gearing up to the purchase of a reso if that were the case- I just have more admiration for that which I find so much harder to achieve. I know that we are not restricted from playing on the nose with a reso, but much of what I've heard is more Rory than Lowell! Martin's work is all the more amazing when you consider that he plays the Sobell "spanish" style. I find any slide work easier to play cleanly when on my lap. Those damn frets! Once I discovered the tunings (and there are many) that Martin uses, I was away. I have taught myself some of his arrangements by ear just from knowing the tuning. Ironically for me, the one that I have had the most difficulty with performing consistently is "Banks of the Sweet Primroses" from "The Bramble Briar" and that is only in dropped D tuning. I have sat three feet away from Martin in a glorified scout hut and watched him play-inspirational! A bit rambling, all this, so I apologise if there is any topic drift, Stevie.
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