I shouldn't let this kind of thing get to me I guess, but it really does. And especially so, when it comes from a seasoned player.
Granted, I'm very strong on the bass and I'm heavy on the drums, as my dancers need to hear that basic beat foundation first and foremost. That, coupled with my cheap little video reproduction, does make it sound "less than optimal".
However, don't let the cow sh!t on my boots, the grey hair and my torn old saddle horn cloud your perception.
I score and sequence every blessed tone, nuisance and rim shot from scratch. Out of my head. It comes from inside me alone and not some cheap little drug store pre-recorded backing track like many of the lazy "One-Man-Band" types use.
I understand that there is no way the listener could possibly know that it takes me up to three weeks to get it to sound exactly the way I want it/the way I want it to come across and that I've used as many as 14 different and distinct chord structures on those underlying rhythm instrument(s) to get it that way. One just cannot get that from a cheap little 3 minute video.
I've tried the "lounge" stuff; I play it here at home all the time. I like the complexity of the progressions and I like the way those tunes stretch the horizon.
However, it simply does not work for my crowds.
First song comes off as, "That is absolutely amazing". Second is "Yes, that's really nice". By the third tune, folks are either nodding off, heading to the bar to get a stiff drink or looking for their car keys to go find a band with a beat.
Point being, please don't sit there and repeatedly judge me as a country hick, corn-pone, three chord, inbred player. I score the arrangements and I know full-well what they consist of. Further, it irks me just a little to have to sit here "defending" myself against that sort of denigration.
Of course, that's always the way it works. Give something away for nothing, it will come back to bite you every damned time. It's human nature/it's what we do. :>)
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Today's Featured Article - Good As New - by Bill Goodwin. In the summer of 1995, my father, Russ Goodwin, and I acquired the 1945 Farmall B that my grandfather used as an overseer on a farm in Waynesboro, Georgia. After my grandfather’s death in 1955, J.P. Rollins, son of the landowner, used the tractor. In the winter 1985, while in his possession the engine block cracked and was unrepairable. He had told my father
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