(second block, fourth letter of the prisoners' quadratic tap code...)

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...am here to tap through the walls.



Thu Oct, 15 2009

Getting Through It

It was during the recent rock & roll maelstrom when Peter G. generously minuted:

"You're a musician, fer chrissakes. Yeah, I know that every mope out there can sing along to the radio, but not everyone groks what Music is. Being able to take those funny golf clubs on the page and turn them into coherent sound is an important first step, I know, but it's not the whole package.

Most people don't know that sense of wonder and magic when everyone is on the same page with a shared vision. As I've told you before, I'm a classical guy, and there isn't any drug (nor will there ever be such a drug) that can substitute for that incredible sensation when a band or orchestra sets aside the individual and combines to be something greater.

It's a rare thing, and you need to cherish it when it happens. It's even rarer when it gets recorded: grab a copy of Leonard Bernstein and the Israel Philharmonic literally rocking Rite of Spring.

Yeah, I visit daily, and yeah, I'm disappointed when there isn't a new post, but don't you dare apologize for lack of posting when you're doing what you love, what you (and I) live for. Feed your soul and don't worry about us. We'll be here when the suckitude of life brings you back to the keyboard."
Here's one thing that I think: if I were a real -- mind, body, heart and soul -- musician, then I would ignore everything else and produce the serious blues album that the times call for.

Who is going to do that? Whose heart is breaking for America, who can also crystallize all that in a statement fitted to the tragedy? An entire culture sunk in delusion and mendacity, eating itself one bite at a time from neighbor to neighbor, now pitched against each other in competing visions of mutual slavery -- where the plain-day principle of freedom once guided the best of our aspirations.

If that's not enough to leave "a good man feeling bad," then I guess it would take nothing short of the actual war that every good man should dread with all his heart.

It's all got me feeling badly enough, alright. I just don't know how I would find the capacity to address it justly.

All I've got around here is just day-to-day. This is not an easy thing. Forever, I have understood that what I see and have to say about it would never be a very popular outlook.

I was recently informed of word from an old and long-lost friend who, in conversation with another old friend, asked about me, "Is he normal to talk to? I mean, I thought the whole Ayn Rand/libertarian thing would have been just a phase." (Yes, Joanne, honey: I have always recalled you fondly, and I gently remind you that discretion is not one of our old friend's most ringing attributes. You should drop me a line. I'd love to catch up.) And the question naturally arises to me: am I the one who's supposed to apologize for holding freedom as my first political value?

Never.

It's just that this shit's been pretty expensive over a whole lifetime, and this is not an unlimited account.

Day by day.

AxeBites

Various guitars I see floating by, mostly Gibson and mostly eBay.


Early Norlin ES-335 -- 1970, in Walnut ("ES-335TDW"). This is a period-piece look and feel, and arguably the sound as well but that's to cut things very finely. A "classic" 335 would be the original of 1958 in the Sunburst or Natural finish, or the Cherry Red of 1959; the Walnut of 1970 (second year of that finish offering) is not really a "classic" 335. In the history of the Gibson aesthetic, this is analogous to, say, vertically-striped polyester bell-bottoms or Bahama Blue shag carpeting. None of this is to say that they're not cool guitars, and this is a nice one. Excellent photographs.

Chrome hardware, featuring the trapeze tailpiece (like my L-47 and I've always liked it) and ABR-1 bridge with period-typical nylon saddles. Bound rosewood fretboard, with small block markers, and then the crown inlay at the machine head. These would be the T-top Humbuckers. Vintage Nazis would moan that the upper bouts are pointy (the body templates were wearing-out in the factory) and the fourteen-degree machine head with the volute signals a sometimes not-fun era of the line, but these things really do rock or moan or whatever you want a 335-type semi-hollow to do. ...which, of course, is because it really is a 335.


In the months since I've let AxeBites languish all to bleedin' hell, Gibson's Robot Guitar technology has sifted out to other models than the original Les Paul application. I don't know how it's going: I still haven't even seen one of these self-tuners. I don't see piles of them burning on the sides of the highway, nor reverent hangings in display cases over bars, so who knows? This 2008 Robot SG is ready to rock in the Metallic Red. Nickel hardware; it's the stoptail wired for data to send to the tuners, with dual Humbuckers. It's a bound rosewood fretboard, but I really like the single-bound machine head with the crown inlay. That's a real cool old-school look, right there, to set off that crazy-ass color. {nod}