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Tired of bein' lonely, tired of bein' blue, I wisht I had some good man to tell my troubles to - Bessie Smith, I Need a Little Sugar in My Bowl
0 Members and 3 Guests are viewing this topic. Those are definitely two nice ones. The first sure sounds like Lonnie Johnson had a hold of Buddy's brain.
That's one of the things I find so intriguing about Moss UB. He seemed to have been a musical sponge of sorts, taking ideas that appealed to him pretty freely but always lending them a certain 'tude of gravitas that the originals (i.e. Fuller) sometimes don't have. What a guitar vocabulary he acquired that way!
"originals (i.e. Fuller) "
Wasn't it the other way round - Fuller following Moss? Great posts of a great player though. It was Fuller following Davis and Moss following Fuller et al as far as I know but I could be wrong.
Buddy Moss started recording in 1933 and I think was sent to prison in 1935 or so, effectively ending his recording career. Fuller and Davis didn't record for the first time until 1935 and many of Fuller's themes seem to have their roots in Moss's recordings (among others, but I think even Davis commented on this at one point).
Thanks for posting that, Pan. What's really surprising about it is that Robert Curtis Smith is playing out of Bb position in standard tuning without a capo. He's using all closed positions, but he's leaving the high E string open, and he keeps sounding it, especially towards the front end of the rendition. It is such a gnarly note relative to the key: #IV relative to the I chord, b9 relative to the IV7 chord and major VII to the V7 chord. It keeps popping out of his smooth chordal sound and making things a bit more hairy sounding. Neat!
All best, Johnm
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