Any artist who has to have stage hands hand them another git are lame.
Learn the neck, for cryin out loud. Or try and tune for a show, most good pickers can do that in 15 seconds, to change keys.
Pure crap. Musically, too.
This is crap, music. Hoss.
larue, the last time i played professionally live i had on the stage, in a semicircle, 4 acoustics (2 ea 6 and 12s for standard tuning and drop d) a national steel body, two stratocasters (one regular tuned one tuned to key of g for slide) and a line6 variax. i used every fucking one of them more than once. i figure i was paid so that people could hear and see me play, not fuck around with the machine heads to get ready. usually i have at least two back up guitars in the wings in case of a string break (although putting on a new set the night before minimizes that) on occaision i have even been handed the next guitar by a stage hand. sometimes it's because we are getting ready to launch right into something, sometimes it's because i go out of my way to treat the stagehands with courtesy and respect and they respond in kind. sometimes it's just because i tip them generously too.
if i'm caught in a situation where i have to tune onstage, it's because i fucked up or something else somewhere went wrong. without a strobe tuner (which i always always always have at least two of at hand) onstage, being unable to hear the sounds well tuning is a motherfucker.
oh yeah, let's not forget the stress of trying to tune in front of a few thousand motherfuckers who paid good money for those seats.
i liked the clips jessie. thanks.
Fuck and Run and Divorce Song - two of the tunes I choose most often on my iPod when I just want to hear one song, even after all these years. Never liked her live at all, though.
I actually liked the "flower" version sang as a round, better. (featured in another youtube selection)Interesting lyrics (to say the least) as a current incarnation in a Bessie Smiths "hot dog for my roll" sort of way. Seems there is are ever more female voices exploring explicit sexual content ala Cindy Williams, Lily Allen etc - as a guy I find it (obviously) fascinating, especially when coupled to other unexpected feelings/motives, as in "flower".
I also object to esthetic considerations based on technique, stage ediquette, or other superflous nonsense to evaluate the art content.
On the other hand, Phairs work could just as easily devolve into the musical equivilent of pole dancing.
She's attractive, I'll give her that.
Minstrel Boy, I bet you had talent, too.
But that's a lot of gits for a gig, hoss.
And I've been a pretty good concert fiend in my youth, and a festing kinda guy over the past 7 years. Folk, americana, bluegrass.
I pick some dobro and mando in the camp jams.
No one I've seen in my lifetime brings that much stuff to a stage.
Not in the 60's. 70's. Not in the 90's, or the new millineum. At least not to performances I've been to. Or watched on tv.
Not at a fest, for a 45 minute show, not at a house concert, not at a show in a venue for two sets worth and a 45 intermission and shake and howdy with the audience and cd sellin.
Two or three git's, maybe, for an extended show?
Standard tuning to drop down D (love me some Ray Wylie Hubbard) is not that tough.
Hell, Richard Thompson don't travel with that much stuff, and he's an established non-standard tuning kinda guy. With CLOUT!
Hell, Roy Rogers, one of the FINEST of his styles in the past few decades don't bring that much with him.
I'll dial back, though, and say, I thought she was really lacking talent, and her style don't really appeal to me, at all. Not at all. Not at all.
I'm not a huge Liz Phair fan but Polyester Bride is in my top 25 life songs
for me, it's more of a convenience thing. i don't want to be goofing around when it's time to be playing. or wandering back and forth upstage. it's really just a lot easier to grab the other guitar. when i'm done, it goes on the stage and the guitar tech grabs it and puts it back on tune. for that gig i was more than a bit armed but the person i was playing for is somebody who slips through different styles and voicings. i had the national because there's simply nothing that sounds like a national. the line6 folks are getting pretty close, but they aren't there yet. i learned a long time ago to set my own taste and preferences aside. to understand that there was music i maybe didn't really get which was still out there and reaching folks i can't. one of the biggest lessons came when i was doing an awards show in l.a. quincy jones was musical director and he heard a group of us out back smoking and talking shit about how "rap ain't music" and long shit like that. q, who knew my father and worked with him and has known me since i was a kid, told me to come by the place after the show and listen to some stuff he was producing. it was ice-t, backed by some metalheads. the stuff was incredible. it opened up a whole new world. what quincy said that really hit home was "the rock and roll ethic is really living in rap now. the best thing about a rock record is when your parents scream at you to turn that shit down. that's where rap is."
Burned her albums? Not bought them?
I saw Liz Phair in concert in NYC, years ago. She played maybe 45 minutes and that was it. Her first album was really good, her albums since then have had some good moments. But live she was a disappointment.
Larue,
Any fan of Roy Rogers (the younger) is aces in my book, but really ...
Two years ago I saw the southern slide-master Sonny Landreth & band burn up a small room in my hometown -- Landreth's been called "the most underrated guitarist on the planet" by none other than Eric Clapton. Landreth alternated guitars through the entire show, passing them back & forth to a stagehand who no doubt was retuning in some quiet corner backstage.
Not only was it too raucous in the hall to allow him to tune to his standards, he also had better things to do between songs ... like talk about the wreckage of Katrina & Rita.
Liz Phair's no guitar slinger, true, but imagine her re-tuning between songs: that 45-minute set would stretch to an hour.
And did you catch her piece in the NYT Book Review yesterday? That Oberlin education finally pays off : )
I am a big Phair then again i have soem very eceltic tastes...got odd loosk at lilth fair I will say taht.
oh an mistral boy..wuss, back when I was in a band the gutarist never even bothered to retune...jsut play through it dammit...then again its only three cords, honestly we probably sounded better out of tune, not very good and all that..but our stunt gutarist could paly faster then ben weasle dammit we should have gotten a big brake. (i was a bad durmmer in a bad punk band in my missspent youth)
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