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Crouch Tiger Hidden Dragon Samurai Shodown 5 Boss Edition. What pushed you to really starting focusing on the solo career? Well, I put out those first two records, and did a couple little tours around that.
I was still playing to nobody and for no money, which is what you gotta do. So, Raag Manifestos came out, and then the interest from Europe started coming in… In I did couple of tours, a couple of East Coasters and a couple of West Coasters…and they actually went okay. I was still coming home with a little cash. Mike had kids, and he could really tour, but for me, it was easy. Is that in part what led to the dissolution of Pelt?
Kind of, yeah. And it is really odd, because early on in Pelt, Patrick and I were like the drone keepers — that was what we did. And Mike, he would play melody on top of that. Then, when I started getting into the fingerpicking thing, I started to get into the melody as well.
But then Mike went even further into drone, which I would have been into years ago, but at that point I had no interest in hitting gongs or anything like that.
And it was mainly due to distance. So I was kind of getting frustrated with that, and the solo thing was going really well, so I began to think it would be best if I just went and did that and not really worry about Pelt. At want point did you go from really liking the American stuff to digging more Eastern influences and ragas?
And my really good friend Jason [Bill], lived in Houston and Houston has a really huge Indian population. Fahey did some raga-type songs too. Yeah, sort of. He Americanized them, more or less. Which is cool. Fare Forward Voyagers, I think, was probably his most raga-esque. Do you think Fahey was heavily borrowing from stuff that came before him? The American Primitive style, where did it come from? How do you think it developed? Well, he was stealing from early American guitar and banjo players and that sort of stuff.
And he was also stealing from classical music, Tin Pan Alley songs and just anything he liked. He put it all together into one big thing, you know. All of them are into this Eastern stuff, because if you listen to these ragas, there is a lot in common with American blues because of some of the rhythm cycles and the kind of notes and the scales.
Do you share the opinion that the guitar is the ultimate American instrument? Sure, yeah. But when you are tuning a six string, man… you can use a lot of different tunings and combinations, and you are playing all these neat chords and melodic patterns.
So, I would say that the ability to put the guitar into so many different types of tuning, you are offered so many different possibilities for different types of structures and chords and melody.
Listen to Blind Blake recordings. He sounds like an orchestra. You ever try the harmonica? When I was out in Virginia with the Black Twigs recently, I did record this one song with on the banjo because I found this easy picking pattern… and I was able play it on the guitar, so I tried it on the banjo to get some kind of rhythm going on it and it sounded a pretty cool.
At what point were you in your development when you hit Kensington Blues? What were you trying to do with it? It was November, …A lot of that record was developed from this idea I had of being able to incorporate all sorts of different elements of guitar music that I had figured out. I wanted to put it all right there—everything. So with those and Raag Manifestos, I was trying to combine all those elements. I had been accenting the four strings, which is the upbeat.
So then I started playing all that on the downbeat, and all that stuff, the Fahey stuff, the ragtime stuff, all the blues, it all came into place. For the first three records, probably the reason I never did any of that stuff, and I certainly attempted it, was because I was playing it wrong [laughs], for like two or three years. The first paragraph was priceless!
I think we should describe Jack and the Beanstalk this way from now on. It's a very interesting short film. I really liked how you mentioned the painted background and th use of a dummy for the giant's death.
Very good cinematography, indeed! But I still think the guy in the cow suit was the best part of this movie! Don't forget to read my contribution to the blogathon! Saturday, December 12, Jack and the Beanstalk Notify me of new posts via email. Share this: Twitter Facebook. Like this: Like Loading Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:.
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