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Author Topic: Guitar / Fiddle Duets  (Read 875 times)

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Offline Johnm

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Re: Guitar / Fiddle Duets
« Reply #15 on: April 19, 2021, 03:08:00 PM »
I"m glad you said what you said, Thomas. Different horses for different courses. If boom-chang is so easy, why don't more people play it better?
all best,
Johnm

Offline waxwing

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Re: Guitar / Fiddle Duets
« Reply #16 on: April 19, 2021, 04:29:34 PM »
It seems some of us have forgotten the exuberance of always wanting the next song you learn to be an exciting challenge? And also maybe having the desire for positive feedback from the audience. Having been in several jug bands I have played a lot of boom-chang, and played well, I might add, always conscious of the soloist or the band mix. I can't tell you how many times I've been complimented on how well I held down the beat for the band. Well, because it never happened.

Sure, I, personally would consider learning a Walter Vinson boom-chang guitar part as a challenge, especially in E flat or whatever, with that single note bass run in the intro, and then a run down to the 4 chord, and, well, that's usually about it. Just not the same as transcribing lyrics and arrangement, then learning Stop and Listen, and performing with a hot fiddler. Definitely a great challenging experience.

Actually, inspired by this topic, I just reviewed the first 3 of 4 volumes of the Sheiks on Document, and a 1992 compilation, Stop and Listen. I picked out about 17 songs from well over 60 that seemed like they would present a good challenge, to me, or to any other learning guitarist. Some of these have boom-chang but may have interesting instrumental breaks, or just more than the standard two runs. Some do have a different style of backing. Three that I picked out had Bo Carter on guitar and were clearly different. Stop and Listen, and the two remakes, "#2" and "New", really stand out as stellar recordings. The interplay between the guitar and fiddle is thrilling at times. I want to spend some time going through the list, and I might received a cd copy of volume 4 so I can incorporate. Of the 17 there are maybe 3 or 4 different types that they fall into. Once I have sorted them I'll list on this topic.

I am not dissing Walter Vincson in any way. He is one of the greats. Terrific voice, great time, always solid and occasionally really stellar guitar. But comparing Stop and Listen to Please Baby in terms of interest to a guitar player? Go ahead, listen to them back to back.

I'm sure I'll play lots of boom-chang in the future. Playing jug on a rack makes it a little more challenging.

Wax



"People who say it cannot be done should not interrupt those who are doing it."
George Bernard Shaw

“Just because you're paranoid doesn't mean they aren't after you.”
Joseph Heller, Catch-22

http://www.youtube.com/user/WaxwingJohn
CD on YT

Offline ThatGuy

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Re: Guitar / Fiddle Duets
« Reply #17 on: April 20, 2021, 04:46:51 AM »
To respond to a couple of things that came up here; I'm not expressing distaste for boom-chang songs, and will admit that I've done little-to-no work on my boom-chang playing. As a style though it isn't something that works for me at the moment, for a few reasons in decreasing order of relevance;

1  Country Blues is my interest, not my wife's! I can maybe get her to accompany me for a couple of songs, if they're the right songs. But I think it will feel like I'm stitching her up if I'm boom-changing standard chord changes and getting her to leg-work in any song

2 Also because of the above, fiddle-accompanied songs will only ever make up a tiny portion of my set. If we were regularly performing as a two-piece I would be all over boom-chang playing, but for a song or two I think there has to be a couple of really compelling songs out there that we can work on and upload for internet point

3 I'm a guitarist, so what I'm compelled by, and what I listen to is guitar-driven. If I'm honest I'm probably 51% into the intricate guitar-playing and 49% into the blues

4 I talk a big game but I am very early in my CB journey. Waxwing said "It seems some of us have forgotten the exuberance of always wanting the next song you learn to be an exciting challenge?" and that really resonates with me. I've finally got to a position where I can learn the songs I want to learn, rather than what I need to learn to build a platform to work from, and I want to exploit that while I have the momentum. It is only very recently that I started trying to put together a couple of 'B' songs, that I just hold onto until I'm gigging.

5 In relation to all of the above, it is going to be a long time before gigs comes back in Ireland, but I'm aiming on having a set together to bring into next year when there should be some life back in the industry. At the moment that means I can use all of my time really getting to grips with a lot of the different styles on challenging (for my level) songs, so that when the time comes I can transfer that to a complete set. I will be spending the intervening time building a profile on social with 'A' material that I can use next year to get a couple of gigs, hopefully.

Lockdowns have recently given me the opportunity to finally give all of this a proper go after years of trying to get songs together without getting the feel right or being able to sing properly while I play, and I finally like I'm getting there, thanks in no small part to Johnm's works.

@Johnm I'm still having a hard time forgiven you for putting Spike Driver Blues as the first song your MJH set on Stefan Grossman though. I've been playing that for around 3 years and only got it together recently

Offline Johnm

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Re: Guitar / Fiddle Duets
« Reply #18 on: April 20, 2021, 06:45:39 AM »
Hi That Guy,
I'm glad that you have learned from some of the video lessons I've done, but based on your own description of where your playing is currently, I'd recommend less focus on preparing to perform and more focus on simply becoming a more accomplished and skillful player. Putting the focus there rather than on performing will make what you have to offer when you do start performing that much stronger, and as a result, the reception you'll receive from audiences will be more positive. You have plenty of time to perform in the future--in the meantime, do the work needed to become a better player. Good luck with this.
All best,
Johnm

Offline Thomas8

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Re: Guitar / Fiddle Duets
« Reply #19 on: April 20, 2021, 01:24:16 PM »
Unfortunately I think your response waxwing has pointed to exactly what has become of this music these days, it's played by guitar players trying to have other guitar players pay them complements, all these older cats that have been mentioned were musicians NOT guitar players. 

And surely the whole point of playing music is to play music, not to impress. I mean the whole point of a Jug band is for ensemble purposes it's not about some chap coming up to you afterwards and saying "wow, you blow a mean jug"   

I didn't really appreciate your snooty tone regarding Walter Vincsons accompaniment in Eb, the guy had a completely unique way to accompany without a capo and the way he does it serves the song and provides the whole group with a signature sound. Sure it may be easy to learn after you've heard him do it, but I don't think you show enough respect to him for having created that style in the first place.

What strikes me about Stop and Listen is the entire picture, the fiddle, the guitar, the voice, the words it's all melded together it wouldn't take anything away if Walter Vincson applied a simpler accompaniment.   

Offline waxwing

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Re: Guitar / Fiddle Duets
« Reply #20 on: May 15, 2021, 04:35:40 PM »
Hi ThatGuy,

I really want to apologize that you were put into the position of feeling defensive and having to explain your motives. Newcomers should be welcomed to Weenie Campbell and never made to think they did something “wrong”. Especially, in my mind, those who have enthusiasm for performing. The first words of our mission statement are “Preserving Country Blues …”. The primary way of doing this is by encouraging people to perform, because when audiences hear this music live, performed well, they cannot help but be engaged.

I encourage you not to allow the “blues police” to corner you into thinking there is a “right way” to play the old blues. I encourage you to find “your way”, whatever that may be, however that may grow, and get out there and perform the music with the enthusiasm in your words. There will be folks who hear you whose load will be lightened.

So, I followed up on my offer to review most of the Mississippi Sheiks work, with an eye toward which arrangements seem to have a more challenging guitar part. I did not look at the vocals or the fiddle parts as criteria, which I would for myself. I came up with about 24 songs, and I also made a second list of 19 songs that had something more interesting going on, like a rhythm or key change. That’s just about half of their available recorded work so I haven’t narrowed the list down all that much. This was very fast and loose, and I don’t claim to be an expert, so if anyone has suggestions for songs I missed, that specifically have a more challenging guitar part, I’ll add them to the list. I do think this list might provide guidance for anyone interested in getting to know the Sheiks’ music and wanting to hear Vinson at his best, I think.

For guitarists such as ThatGuy, I think you should bear in mind that Walter Vinson likely played much of his material with a flat pick, but, per Johnm, used fingerpicks on Stop And Listen, The World Is Going Wrong and many others. When Bo Chatmon (Carter) is covering the guitar responsibilities he is more likely fingerpicking, although he plays the formulaic boom-chang backing, with occasional response licks, on several songs, too. You can play them whichever way is more comfortable to you, of course.

Also, yes, when you are trying to develop your repertoire with an eye toward performing both solo and in small combos, it helps to learn an arrangement that can stand on its own. But if you find yourself in a jug or string band with mostly single note instruments, you may realize that it takes a lot more work to learn a complicated fingerpicking arrangement on every new song, than for your bandmates who need to learn the melody and whatever single note response licks will get them through. Suddenly that formulaic boom-chang seems just right. I greatly enjoy playing in jug bands and try to keep a good blend of both.

I’m going to start a new post to put up my lists as there are character restrictions and I’m hoping not to have to break them up.

ThatGuy, I hope you keep coming back to Weenie Campbell, and definitely keep playing the music!

Wax
« Last Edit: May 18, 2021, 01:43:26 AM by waxwing »
"People who say it cannot be done should not interrupt those who are doing it."
George Bernard Shaw

“Just because you're paranoid doesn't mean they aren't after you.”
Joseph Heller, Catch-22

http://www.youtube.com/user/WaxwingJohn
CD on YT

Offline waxwing

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Re: Guitar / Fiddle Duets
« Reply #21 on: May 15, 2021, 04:38:15 PM »
As stated in the previous post, this is a list of recordings by the Mississippi Sheiks that I feel, after a very cursory review, might seem to have more challenging guitar parts, as usually played by Walter Vinson, but occasionally by Bo Chatmon (Carter). If anyone has suggestions to be added, given these criteria, please let me know. No consideration was given to the vocal or fiddle aspects of the arrangements, but I would highly suggest doing so yourself.

I have included discography of each song, which I copied from Blues and Gospel Records, vol. 4. I have also included the instrument tunings and positions, as published by Frank Basile (frankie) on Weenie Campbell in the Mississippi Shieks lyrics thread. This represents a massive amount of work by frankie which has never been moved to Weeniepedia, so I have stripped out the tuning/position info and put it into a separate document (with the B&GR info, too) so that it may be easily posted. I’ll post that into the Lyric topic when I get it cleaned up.

Looking at the 24 songs that ended up on my list, a few are versions of Stop and Listen and several others are similarly in drop D, which seems to be a specialty of Vinson’s as Bo did not record any for the Sheiks in that position that I noticed. I thought it would be a good idea to group the songs by playing positions for easy comparisons. Where there are several songs in a given position I have tried to keep them in chronological order, just out of interest. There is also a second list of 19 songs that may not be as challenging, but have interesting features that I thought were interesting. I have grouped these also by position and the breakdowns of these two groups might be interesting. In total there were just less than 90 songs that were available for me to review recorded by the Sheiks so this represents about half:

First group

Dropped D   9
G      8
B flat      3
C      2
E      1
E flat      1

Second group

B flat      9
F      3
F/B flat/E flat   1
G      2
C      2
E flat      1
Dropped D   1

I hope this provides some guidance for guitarists looking for material to play with a fiddler, but also for someone who wants to get a deeper look and see Walter Vinson and Bo Chatmon doing what I think is their most interesting playing with the Sheiks.

Second list in a following post.

Wax



Legend (taken from B&GR)
g – guitar
vn – violin
v - vocal

Stop and Listen Blues
W. Vinson, g/v; L. Chatmon, vn.   Shreveport, LA      Monday, 17 February 1930
Actual pitch: C
Main guitar position: Dropped D
Fiddle position: D
Mandolin position: n/a
Second guitar position: n/a

Stop And Listen Blues No. 2
W. Vinson, g/v; L. Chatmon, vn.   King Edward Hotel, Jackson, MS    Friday, 19 December 1930
Actual pitch: D-flat (s)
Main guitar position: Dropped D
Fiddle position: D
Mandolin position: n/a
Second guitar position: n/a

Church Bell Blues
W. Vinson, g/v; L. Chatmon, vn.   King Edward Hotel, Jackson, MS    Friday, 19 December 1930
Actual pitch: D-flat
Main guitar position: Dropped D
Fiddle position: D
Mandolin position: n/a
Second guitar position: n/a

She's Crazy About Her Lovin'
W. Vinson, g/v; L. Chatmon, vn.   Grafton, WI         c. July 1932
Actual pitch: D-flat
Main guitar position: Dropped D
Fiddle position: D
Mandolin position: n/a
Second guitar position: n/a

The New Stop And Listen Blues
W. Vinson, g/v; L. Chatmon, vn.   Grafton, WI         c. July 1932
Actual pitch: D-flat
Main guitar position: Dropped D
Fiddle position: D
Mandolin position: n/a
Second guitar position: n/a

Kitty Cat Blues
W. Vinson, g/v; L. Chatmon, vn; unknown 2ndg.   Chicago, IL   Tuesday, 20 June 1933
Actual pitch: D-flat
Main guitar position: Dropped D
Fiddle position: D
Mandolin position: n/a
Second guitar position: Dropped D

Somebody's Got To Help You
W. Vinson, g/v; L. Chatmon, vn.     Texas Hotel, San Antonio, TX     Monday, 26 March 1934
Actual pitch: E-flat
Main guitar position: Dropped D
Fiddle position: D
Mandolin position: n/a
Second guitar position: n/a

Good Morning Blues – Very cool Drop D
W. Vinson, g/v; L. Chatmon, vn.     Texas Hotel, San Antonio, TX     Monday, 26 March 1934
Actual pitch: E-flat
Main guitar position: Dropped D
Fiddle position: D
Mandolin position: n/a
Second guitar position: n/a

Pop Skull Blues
W. Vinson, g/v; L. Chatmon, vn.     Texas Hotel, San Antonio, TX     Tuesday, 27 March 1934
Actual pitch: E-flat (f)
Main guitar position: Dropped D
Fiddle position: D
Mandolin position: n/a
Second guitar position: n/a

The World Is Going Wrong
W. Vinson, g/v; L. Chatmon, vn.         Atlanta, GA           Saturday, 24 October 1931
Actual pitch: G
Main guitar position: G (possibly half-spanish)
Fiddle position: G
Mandolin position: n/a
Second guitar position: n/a

Shooting High Dice
W. Vinson, g/v; L. Chatmon, vn.   Grafton, WI          c. July 1932
Actual pitch: G-flat
Main guitar position: G
Fiddle position: G
Mandolin position: n/a
Second guitar position: n/a

It's Done Got Wet
B. Chatmon, v/g; Lonnie Chatmon, vn.   Texas Hotel, San Antonio, TX   Monday, 26 March 1934
Actual pitch: A-flat
Main guitar position: G
Fiddle position: G
Mandolin position: n/a
Second guitar position: n/a

Pencil Won't Write No More
B. Chatmon, v/g; Lonnie Chatmon, vn.   Texas Hotel, San Antonio, TX   Monday, 26 March 1934
Actual pitch: A-flat
Main guitar position: G
Fiddle position: G
Mandolin position: n/a
Second guitar position: n/a

I Am The Devil
B. Chatmon, v/g; Lonnie Chatmon, vn.   Texas Hotel, San Antonio, TX   Monday, 26 March 1934
Actual pitch: A-flat
Main guitar position: G
Fiddle position: G
Mandolin position: n/a
Second guitar position: n/a

She’s Got Something Crazy
B. Chatmon, v/g; Lonnie Chatmon, vn.   Texas Hotel, San Antonio, TX   Monday, 26 March 1934
Actual pitch: G (s)
Main guitar position: G
Fiddle position: G
Mandolin position: n/a
Second guitar position: n/a

Sales Tax
W. Vinson, g/v; B, Chatmon g/v; L. Chatmon, vn.     Texas Hotel, San Antonio, TX
     Tuesday, 27 March 1934
Actual pitch: A-flat (f)
Main guitar position: G
Fiddle position: G
Mandolin position: n/a
Second guitar position: D figures up the neck

I Can't Go Wrong
B. Chatmon, v/g; Lonnie Chatmon, vn.     New Orleans, LA.    Saturday, 19 January 1935
Actual pitch: G
Main guitar position: G
Fiddle position: G
Mandolin position: n/a
Second guitar position: n/a

The Jazz Fiddler
W. Vinson, g/v; L. Chatmon, vn.   Shreveport, LA      Monday, 17 February 1930
Actual pitch: A-flat
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: n/a

Baby Keeps Stealin' Lovin' On Me
W. Vinson, g/v; B. Chatmon g/v; L. Chatmon, vn.    San Antonio, TX.    Thursday, 12 June 1930
Actual pitch: B-flat
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: D figures up the neck

Isn't A Pain To Me
W. Vinson, g/v; L. Chatmon, vn.   Grafton, WI   c. July 1932
Actual pitch: A
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: n/a

Kind Treatment
W. Vinson, g/v; L. Chatmon, vn.         Atlanta, GA           Saturday, 24 October 1931
Actual pitch: C
Main guitar position: C
Fiddle position: C
Mandolin position: n/a
Second guitar position: n/a

Livin' In A Strain
W. Vinson, g/v; L. Chatmon, vn.         Atlanta, GA           Saturday, 24 October 1931
Actual pitch: C (s)
Main guitar position: C
Fiddle position: C
Mandolin position: n/a
Second guitar position: n/a

Dead Wagon Blues
W. Vinson, g/v; L. Chatmon, vn.      New Orleans, LA.    Saturday, 19 January 1935
Actual pitch: E
Main guitar position: E
Fiddle position: E
Mandolin position: n/a
Second guitar position: n/a

She's Going To Her Lonesome Grave
W. Vinson, g/v; L. Chatmon, vn.      New Orleans, LA    Saturday, 19 January 1935
Actual pitch: E-flat
Main guitar position: E-flat
Fiddle position: E-flat
Mandolin position: n/a
Second guitar position: n/a
« Last Edit: May 15, 2021, 07:27:05 PM by waxwing »
"People who say it cannot be done should not interrupt those who are doing it."
George Bernard Shaw

“Just because you're paranoid doesn't mean they aren't after you.”
Joseph Heller, Catch-22

http://www.youtube.com/user/WaxwingJohn
CD on YT

Offline waxwing

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Re: Guitar / Fiddle Duets
« Reply #22 on: May 15, 2021, 04:43:10 PM »
Driving That Thing
W. Vinson, g/v; L. Chatmon, vn.   Shreveport, LA      Monday, 17 February 1930
Actual pitch: A-flat
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: n/a

Lonely One In This Town
W. Vinson, g/v; L. Chatmon, vn.   Shreveport, LA      Monday, 17 February 1930
Actual pitch: G
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: n/a

West Jackson Blues
B. Chatmon, v; W. Vinson, g; Sam Chatmon, g; Lonnie Chatmon, vn.
San Antonio, TX       Wednesday, 11 June 1930
Actual pitch: B-flat (f)
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: D figures up the neck

River Bottom Blues
W. Vinson, g; B. Chatmon, g; Lonnie Chatmon, vn.   San Antonio, TX    Thursday, 12 June 1930
Actual pitch: B-flat
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: D figures up the neck

Tell Me To Do Right
W. Vinson, g/v; L. Chatmon, vn.   Grafton, WI   c. July 1932
Actual pitch: A
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: n/a

New Shake That Thing
W. Vinson, g/v; L. Chatmon, vn.   Grafton, WI   c. July 1932
Actual pitch: A
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: n/a

He Calls That Religion
W. Vinson, g/v; L. Chatmon, vn.   Grafton, WI   c. July 1932
Actual pitch: A-flat
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: n/a

It's Backfiring Now
B. Chatmon g/v; L. Chatmon, vn.      New Orleans, LA    Saturday, 19 January 1935
Actual pitch: B-flat
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: n/a

Lean To One Woman
B. Chatmon g/v; L. Chatmon, vn.      New Orleans, LA    Saturday, 19 January 1935
Actual pitch: B-flat
Main guitar position: B-flat
Fiddle position: B-flat
Mandolin position: n/a
Second guitar position: n/a

The Sheik Waltz
W. Vinson, g/v; L. Chatmon, vn.   Shreveport, LA      Monday, 17 February 1930
Actual pitch: E-flat
Main guitar position: F/B-flat/E-flat
Fiddle position: F/B-flat/E-flat
Mandolin position: n/a
Second guitar position: n/a

Times Done Got Hard
W. Vinson, g/v; L. Chatmon, vn.    King Edward Hotel, Jackson, MS   Friday, 19 December 1930
Actual pitch: F
Main guitar position: F
Fiddle position: F
Mandolin position: n/a
Second guitar position: n/a

Unhappy Blues
W. Vinson, g/v; L. Chatmon, vn.    King Edward Hotel, Jackson, MS   Friday, 19 December 1930
Actual pitch: F
Main guitar position: F
Fiddle position: F
Mandolin position: n/a
Second guitar position: n/a

I've Got Blood in My Eyes for You
W. Vinson, g/v; L. Chatmon, vn.         Atlanta, GA           Sunday, 25 October 1931
Actual pitch: F
Main guitar position: F
Fiddle position: F
Mandolin position: n/a
Second guitar position: n/a

Winter Time Blues
W. Vinson, g/v; L. Chatmon, vn.   Shreveport, LA      Monday, 17 February 1930
Actual pitch: F
Main guitar position: G
Fiddle position: G
Mandolin position: n/a
Second guitar position: n/a

You’ll Work Down To Me Someday
W. Vinson, g/v; Lonnie Chatmon, vn.   Texas Hotel, San Antonio, TX   Monday, 26 March 1934
Actual pitch: G (s)
Main guitar position: G
Fiddle position: G
Mandolin position: n/a
Second guitar position: n/a

She's A Bad Girl
W. Vinson, g/v; L. Chatmon, vn.         Atlanta, GA           Saturday, 24 October 1931
Actual pitch: C
Main guitar position: C
Fiddle position: C
Mandolin position: n/a
Second guitar position: n/a

Tell Me What The Cats Fight About
W. Vinson, g/v; L. Chatmon, vn.         Atlanta, GA           Saturday, 24 October 1931
Actual pitch: C
Main guitar position: C
Fiddle position: C
Mandolin position: n/a
Second guitar position: n/a

Still I'm Travelling On
W. Vinson, g/v; L. Chatmon, vn.    King Edward Hotel, Jackson, MS   Friday, 19 December 1930
Actual pitch: E-flat (f)
Main guitar position: E-flat
Fiddle position: E-flat
Mandolin position: n/a
Second guitar position: n/a

Lonesome Grave Took My Baby – Same as S&LB, good stuff but whupped record
W. Vinson, g/v; L. Chatmon, vn.     Texas Hotel, San Antonio, TX     Tuesday, 27 March 1934
Actual pitch: E-flat (f)
Main guitar position: Dropped D
Fiddle position: D
Mandolin position: n/a
Second guitar position: n/a
"People who say it cannot be done should not interrupt those who are doing it."
George Bernard Shaw

“Just because you're paranoid doesn't mean they aren't after you.”
Joseph Heller, Catch-22

http://www.youtube.com/user/WaxwingJohn
CD on YT

Offline Johnm

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Re: Guitar / Fiddle Duets
« Reply #23 on: May 17, 2021, 07:51:07 AM »
Hi all,
In the interest of accuracy, there are plenty of Mississippi Sheiks songs on which Walter Vinson was fingerpicking rather than flatpicking, "Stop And Listen" and "The World Is Going Wrong" among them.
All best,
Johnm

Offline waxwing

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Re: Guitar / Fiddle Duets
« Reply #24 on: May 18, 2021, 01:29:30 AM »
Hence my "I think" attached to that. Thanks much for the clarification, Johnm. I'll edit my text to reflect this.

As you've said to me a few times over the years, just glad to know someone is reading the post.

Wax
« Last Edit: May 18, 2021, 01:30:39 AM by waxwing »
"People who say it cannot be done should not interrupt those who are doing it."
George Bernard Shaw

“Just because you're paranoid doesn't mean they aren't after you.”
Joseph Heller, Catch-22

http://www.youtube.com/user/WaxwingJohn
CD on YT

Offline Rivers

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Re: Guitar / Fiddle Duets
« Reply #25 on: May 28, 2021, 05:12:09 PM »
It seems some of us have forgotten the exuberance of always wanting the next song you learn to be an exciting challenge? And also maybe having the desire for positive feedback from the audience

Absolutely. We definitely need a 'like' button on this forum
« Last Edit: May 28, 2021, 05:14:13 PM by Rivers »

Offline ThatGuy

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Re: Guitar / Fiddle Duets
« Reply #26 on: June 09, 2021, 02:29:25 AM »
Sorry about my extended absence from replying

@waxwing I really appreciate both the kind words and the work you put into the Mississippi Sheiks catalogue.

Thankfully I don't intend on packing it in any time soon! But the support certainly helps

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