Yep, spot on. There are a lot of great guitars coming out of Korea these days. Most of them up to spec with the more expensive Japanese models available. Check them out and remember you can always modify them to suit your personal taste.

The Raw Cuts said:

not true. I have 2 'cheap' korean build guitars and they play great. even the local luthier said they are really well made guitars. overcome your prejudices and give them a try ;-)

dying slowly said:

good plan but i dont like todays cheap stuff they so poorly made compared to old ones

Schecters are Korean made, and have a fit and finish which certainly surpasses some of the stock Gibsons I've seen... have also heard favorable things about certain Chinese Esquire models, which shame US Fenders.  Heard about "lawsuit" guitars from Japan?.. the Japanese certainly put out ther share of low-quality crap through the sixties, but in the late Seventies and early Eighties they really got their shit together, and concerning Korean/Chinese stuff I think history is in the process of repeating itself.

The Raw Cuts said:

not true. I have 2 'cheap' korean build guitars and they play great. even the local luthier said they are really well made guitars. overcome your prejudices and give them a try ;-)

dying slowly said:

good plan but i dont like todays cheap stuff they so poorly made compared to old ones

not true. I have 2 'cheap' korean-built guitars and they play great. even the local luthier said they are really well-made guitars. overcome your prejudices and give them a try ;-)

dying slowly said:

good plan but i dont like todays cheap stuff they so poorly made compared to old ones

that was only commercial ones like the 5th estate the really lo-fi BFTG-style bands had cheap gear and anyway the gibsons used would be cheap ones like the lp jr or melody maker.

fair coment for the fenders but compard to gibsons they where affordable

You guys are probably right about all the timing of who met/saw who when, and yes of course McLaren managed the Dolls for a while and saw all the early NY scene and was inspired by it, and of course the Pistols sound evolved as they gelled as a band, taking in newer influences etc, but I still think that as an original influence, Glam was a major one, as was 60's garage (which was also one of the Ramones influences...). But the English scene developed distinct from the US/NY one, even though some of the same factors led to both... the English 'Winter(s) of Discontent' et al gave the UK a very political edge... it's hard to describe quite how bleak England had become by the mid-70s, the whole class system/dole/poverty issues which made punk such a liberating thing for so many of us, both as being musicians and just being young and poor/bored/restless/etc etc. And for a few years it changed everything for us... but then the old order reasserted itself, and despite a few other breakouts, is more consolidated today than ever... hello 'reality'/Xfactor/Idol-World (sigh!)

I just assumed Dee Dee was right about meeting the Sex Pistols at the Roundhouse (in Please Kill Me).  I probably wouldn't be wrong that he did have the worst memory.

The Pistols may have been a band since '75, but their sound wasn't really honed until much later (early '76). Bands evolve over time, and I wouldn't doubt that seeing the Ramones definitely had an influence on their sound when they became huge, even though Lydon later denied liking their image or their sound. Also, don't forget that McLaren was also heavily influenced (or rather, inspired) by Richard Hell (Television) and the lower Manhattan punk scene of the early '70s while he was there working w/ the New York Dolls. McLaren even tried to recruit Hell to front the Pistols. And wasn't the first time the Pistols saw the Ramones at Dingwall's (the night after the Roundhouse gig)?

H-ha, thanks for confirming my suspicions, Gents. Maybe my ears aren't going crazy after all. Very interesting to hear some first hand accounts from early punk history as well.

http://twitter.com/lightbulballey

cool vids :)

http://www.vera-groningen.nl/agenda/mainstage/kiss-n-run-rock-n-roll-party-nite-met-wheels-fire-anomalys-urban-junior-dj-tim-warr

thanks i red silvertone some where else

When I seen them in Hoboken Larry was using a Vox AC30. 

http://www.youtube.com/watch?v=scqsYcgZEMM

I've also seen some vids where he was using a Marshall & an old amp that looked like a Silvertone or Univox.

Hope this is of use,

Billy

Kay.  This is the Pleasure Seekers' version.

(Probably...)

E D B D

E...

A...

E...

B...B, B flat, A...

.

.

D, D#, E

The Mummies' version may be a little bit different.  Though, I wouldn't explain it in English, haha. 

I also played a couple of these songs on the latest Big Enchilada (Joey Allcorn and Whitey Morgan) and, of course been playing all kinds of tracks from this and Vol. 1 on my local radio show. Cool tunes.

This is FANTASTIC! Thanks a ton

Listening to their tracks I hear some guitar thrown in there. I'm pretty sure they use one of those.

the amazing onemanband, the fabulous gogo boy from alabama, chuck violence, o lendario chucrobillyman, wasted pido, number 71, trash colapso............... they have a fuckin rockandroll soul!!!!

Scott H. Biram is pretty good, too.

Show #339: "The Eggman Collection #101" playlist:

David Bowie - "Cygnet Committee"
Edgar Broughton Band - "Gone Blue"
The Bobby Fuller Four - "Misirlou"
Love - "A Message To Pretty"
Erik - "Triumphant Breaking Bottle"
Bump - "Spider's Eyes"
Queen - "Fat Bottomed Girls"
Circus - "You To Me"
The Cryan' Shames - "We'll Meet Again"
The Electric Flag - "She Should Have Just"
Mutantes - "It's Very Nice Pra Xuxu"
The Shoes - "Imagination"
Spooky Tooth - "Hangman Hang My Shell On A Tree"
Country Weather - "Fly To New York"
The Birds - "I Can't Let Maggie Go"
Giles, Giles & Fripp - "Passages Of Time"
The Byrds - "Lazy Waters"
Gun - "Situation Vacant"
The Kinks - "Picture Book"
The Band - "Where Do We Go From Here"
The Electric Prunes - "Silver Passion Mine"
Sweet Thursday - "Molly"
The Rockets - "Mr. Chips"
The Odyssey - "Little Girl, Little Boy"
Satya Sai Maitreya Kali - "Voodoo Spell"
The Jefferson Handkerchief - "I'm Allergic To Flowers"
Harmonia 76 - "Les Demoiselles"
The Majic Ship - "Night Time Music"
Jet - "Nothing To Do With Us"
Gandalf The Grey - "Mr. Joe's"
The United States Of America - "I Won't Leave My Wooden Wife For You, Sugar"
George Harrison - "Ski-Ing/Gat Kirwani"
Family - "Face In The Cloud"
Simon Dupree & The Big Sound - "Please Come Back"
The Iveys - "I've Been Waiting"
Strawbs - "The Vision Of The Lady Of The Lake"

Click here to stream this show now: http://eggmanrulez.com/m3u/339.m3u
or to download: http://eggmanrulez.com/streams/339.mp3

***To stream The Metaphysical Circus live, listen to past shows, view playlists, etc…check out my website: eggmanrulez.com/ or wscafm.org (click on "listen live") Friday nights at 10pm EST on WSCA-LP 106.1 FM, Portsmouth Community Radio!

Egg

Show #339: "The Eggman Collection #101"

Every 3 weeks I do a series of shows called The Eggman Collection, which originally was an old tape/cd collection of songs that I like. Now since I have little time due to work and stuff, I made it into a radio program. It's a big mix of songs I like, no matter what they are, what genre, style, or era...whatever...If I like it, I play it. This provides a big potpourri of music from all sorts of different artists, and also brings out several guilty pleasures you wouldn't expect me to listen to. Tune in tonight (Friday) at 10pm EST for the 101st installment of The Eggman Collection and hear bands and artists like: David Bowie, Edgar Broughton Band, Love, Bump, The Electric Flag, Mutantes, Spooky Tooth, Country Weather, The Birds, Giles Giles & Fripp, The Byrds, Gun, The Kinks, The Electric Prunes, Sweet Thursday, The Odyssey, The Jefferson Handkerchief, The Majic Ship, Jet, Gandalf The Grey, The United States Of America, George Harrison, Family, Simon Dupree & The Big Sound, Strawbs, and many many more!!!

***To stream The Metaphysical Circus live, listen to past shows, view playlists, etc…check out my website: eggmanrulez.com/ or wscafm.org (click on "listen live") Friday nights at 10pm EST on WSCA-LP 106.1 FM, Portsmouth Community Radio!

Watch my playlist unravel before your eyes LIVE here: wscafm.radioactivity.fm/

Egg

Just because the Studer tape machine is analog does not have to mean it has a great sound. I have often recorded on 70's and 80's tape machines which sounded very close to digital (very clean). I would also prefer analog over digital recording but if you are working with the wrong engineer, you will still have problems. You can get a more analog sound with the right engineer, recording digital, than with the wrong engineer recording analog. If you want a specific sound and not that mainstream hi-fi modern sound you have to be very clear about your references and be sure that the engineer is on the same page. Personally I have experienced that working with 24 track tape machines is closer to digital than working with a 4 or 8 track machine from the 60's or early 70's. Of course it completely depends on the sound you want..

Analog in itself should not be a deal-sealer... more important is working with an engineer who knows where you're coming from, and where you want to go!

Personally I wouldn't do business with an engineer who doesn't know how to (or just won't) record live... bleed should not be an issue if everything is set up right... remember that amps can be physically isolated to reduce bleed.  I have a small (as in XS!) studio myself and am constantly amazed by the lack of bleed when playing back live recordings at the end of a session... As a rule, I never let the drummer play solo... even if (for whatever reason) he's just accompanied by a single guitar, bass, or even vocal.

Lizardmen has a lot of good pointers, but even if "playing for the song" is essential, I would still focus on getting a great drum sound, because this is the one "instrument" you will not be able to overdub!.. Make sure your drummer has his drums tuned, and beware of crappy cymbals (in fact, any equipment and/or instrument issues your rehearsal room might "mask", will often be mercilessly exposed in a recording session!.. sometimes it can actually be a good idea to use on-site equipment that the engineer is familiar with... and if the studio has nothing of use, you might just be in the wrong place anyway)!!

I usually have the drummer in for a soundcheck the day before a session, or at least arrive a few hours before the bassplayer, then have the guitar/guitarslingers 'round for amp-tweaking, and finally the singer... having everyone arrive at the same time is definately not a concentration-enhancer.

All the best!

It seems like everyone is on the level here! Hahaha! Maybe I am going to the wrong studio. The thing is he prefers not to record live but will if I can provide references for sound. And there are a sure whole lot of references of great bands that have pulled it off. I'm sure anything by the Gories was recorded live. I believe reading that I Can't Quit You off Zeppelin I was real time as well. Yeah Fuck it! It is my money (I am the main Financeer) and why not have it my way.

The main reason I am looking at this particular studio is that he has a Studer 24 track. 2 " tape. Huge. It's a monster. When I went in to talk to him he showed me his Pro Tools. Everybody has a different opinion but I wasn't impressed. It has to be analog.

I was thinking, to minimize bleed, box in the amp and send the signal into a headphone set to me and the drummer. I should add that we are a two-piece (lost the bassist) and that I intend to add bass after the fact. I am still unsure about vocals. I think I'd like to do 'em in real time as well.

We are planning to record by the New Year. However, we are in the northeast. I don't know if Atlanta would work for us currently. I'd like to check out your suggestion, though, for future reference. Is he analog equipped?


The Lizardmen said:

If you're looking for an authentic 60's sound, play live all together in one room.  You may have to play songs several times until you get a good take.  Yes you will get instruments bleeding into one another, but that's part of the sound.  This is the way it was done back in the day.  Make sure you're well rehearsed and tight but not over rehearsed or you will squeeze all the magic out of the songs.  Make sure you're very familiar with the songs and that they are complete BEFORE you go in to record them.  If you're having trouble getting one song down, move on to another and come back to it later.  Don't get hung up on one song.  Record another song and success with one will lead to success with another.  As a band, the MOST important thing to remember is to "play for the song".  I can't stress this enough!!  Play together with the outcome of the song being the most important goal or focus (how good it sounds), not the guitar solo or drum sound or singer.  KEEP YOUR EGO IN CHECK ON A PERSONAL LEVEL.  BANDS ARE A GROUP EFFORT AND YOU'RE THERE TO HELP ONE ANOTHER BE THE BEST MUSICIAN YOU CAN BE!  Stay positive and remember why you started doing this in the first place with this group of people.  Support and love one another through the process.

Where are you planning to record?  There is a guy in Atlanta who we have worked with and totally "gets it" when it comes to this style of recording.  He has a great small studio not too far outside the city.