I guess you could say I'm just starting out, but the case probably lies more along the lines of I've just got a long way to go. No idea what the limits are, no clue how far I stand to fall. All I can offer is naïveté and honesty.
The name Byrdland is a mashup of the names of Billy Bird and Hank Garland the two guitarists who participated in its design. They had requested a short scale archtop that would be less bulky than the traditional hollowbody, and this is basically what they got: A short-scale thinline L5CES.
P90s, PAF pickups, venetian or florentine cutaway, the Gibson Byrdland went through several phases, but was always seen as a remarkable and prized instrument. Some of Gibson’s finest. Hear it
As everyone knows, the SG was originally a double cutaway version of the Les Paul model. Les Paul didn’t care so much for the new style and his name eventually got dropped to be replaced by the SG label(as in Solid Guitar) in 1963. So the 1961-63 transition model, sometimes referred to as a SG Les Paul. It is technically not a SG yet, even though it looks, smells and taste like one.
The SG custom is the top of the SG line. Until 1969, the only finish available was white. Three humbuckers that drool 60s heavy rock. No less than four tailpieces variations can be found on the SG Custom: Bigsby (61-63), Sideways Vibrola (61-62), Short Vibrola (62-63), Maestro ‘lyre’ Vibrola. Hear Phil X get High on it
I’ve been to quite a few gigs the last 2 weeks, and it’s given me quite a push. Seeing 4 different bands play in such a short time span is quite an exercise if you’re like me. I pay attention to every little detail I can- who’s playing what, when? how does he get that sound? what did that line mean?
2 years ago, Switchfoot made a huge impression on me, and I left their show feeling pumped about changing the world through song. This time, though I did see Switchfoot again 2 weeks ago, it was Bon Iver who really shook me. How do you describe 12,000 people falling silent to listen to one man (the band took a break I guess) armed with his electric guitar and his honesty?
So I’ve been on hiatus, because I haven’t had the time, and more so because I just didn’t feel it- cause I’ve started writing again and I definitely don’t have the time to be doing so. Here’s a short snippet of a new song I’m working on.
In the first Prelude of Bach’s Forty-Eight, the first and fourth bars are identical, yet the fourth is wholly different, because time has passed. The resonances of bars two and three surround what was once an innocent and simple phrase and give it darkness, density. The same would be true of the return, at the very end of Mozart’s Requiem, of the opening themes of the fugue subject of the Kyrie. To hear the beginning and the end alone and to say “They’re just the same,” would be to misunderstand completely. Time has passed, and we cannot at the end hear what we first heard.
Why labour this point? Philosophers have so often been absorbed by the kinship of music and mathematics that they can forget the gulf between them. Mathematical relations are timeless, can be grasped *visually* on the page, work backwards and forwards; but music keeps and is kept by time, and requires *my* time, which is *my* flesh and blood, my life, for its performance and reception. Its “meaning”, if we can speak in such terms, depends on its movement. Selected highlights tell us nothing. And if music is the most fundamentally contemplative of the arts, it is *not* because it takes us into the timeless but because it obliges us to rethink time: it is no longer time for action, achievement, dominion and power, not even time for acquiring ideas (you could misinterpret attending to drama or poetry in these terms). It is simply time for feeding upon reality; quite precisely like that patient openness to God that is religious contemplation.
Rowan Williams, “Keeping Time (For the Three Choirs Festival)” (via wesleyhill)
So this song was written back in ‘09, while I was taking a subject called Youth Arts: Expressing Cultural Identity in uni. One of my assignments required me to produce an artefact that was an expression of youth culture (however we chose to define “youth” and “culture”), along with a 1800 word exegesis. This song was what I came up with. I’ll insert an excerpt from that exegesis if I ever find it again haha.