desert_max
Well-Known Member
Me too. Always was. Always will be.
The dangers of linseed oil
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Me too. Always was. Always will be.
desert_max
Well-Known Member
Cooper has always called Phoenix home. He is VERY visible around here. He has hosted an FM radio program (KSLX 101.7) for many years. His commentary on various "times and places" is priceless. One recent rant was about Montreux Jazz Festival - the year "some stupid with a flare gun burned the place to the ground" ... the place the Mothers were, that is. Anyway, Cooper is alive and well but dyes his hair.
(I'm pretty partial to the Ovation Breadwinner).
desert_max
Well-Known Member
You guys won't believe this, but I saw the Talking Heads in a small joint in Tewksbury, Massachusetts in '81'ish. The building had inadequate power for their gear, so they had a portable generator on the back of a flatbed trailer outside to supplement the AC. About halfway through the show, everything went dark and quiet - except for houselights and crowd chatter. Like an hour later, Byrne comes on and says we'll play a few more numbers, but won't have any effects. He explained that there'd been a fire in the generator outside. Not major, but disabled it.
Wanna guess which song they lead off with when they came back on?
Screwloose
Well-Known Member
Building on Fire?
Screwloose
Well-Known Member
This is just a suggestion as it combines David Bowie with a young Peter Framptom.
At 5 mins 20 secs peter comes in with a guitar solo to die for.
desert_max
Well-Known Member
desert_max
Well-Known Member
OMG. You weren’t kidding. Frampton is definitely one of the rock gods. He’s still kicking around too, sans hair.
Screwloose
Well-Known Member
Likewise
Photo P1 R-L (Man cave Lab 1)
1. Gretsch Base - don't play base but wanted to try it now and then.
2. Yamaha APX 8C semi acoustic.
3. Gibson R9
4. Gibson R9
5. Patrick Eggle Berlin Pro.
Photo P2 R-L (Man cave Lab 1)
1. Gibson R9 Anniversary.
2. Gibson Studio HP
Photo P3 (Living room)
Gibson Standard HP
Photo P4 (Living room)
Last but not least (bought as a recent present from daughter). The guitar that started a number of posts; the self assembly Harley Benson Fender Style Guitar (£54).
Renamed the 'Linseed Oil Self Combustible Guitar' 'fry your ass off model'.
. Ignore all the dots on the neck, it's just me being lazy with scales.Attachments
Screwloose
Well-Known Member
Alice Cooper is still a big name here, allot of the generation below me are fully aware of who he is. If he is on the TV I always switch over to him. If I had known at the time I was in Phoenix allot that he lived there, I would have went looking for him. Never tried the Ovation Breadwinner, but it is different looking with a nice touch.
Parminio
Well-Known Member
Alice Cooper is a ringer.
The guy is a 5 handicap. He probably makes more on the golf course against unsuspecting fools than he does on the road.
The guy is a 5 handicap. He probably makes more on the golf course against unsuspecting fools than he does on the road.
I decided to look a bit for content on the guy whose wake I attended in 1987, in Detroit in #37. A local musician had some great things to say about him, and I think the story bears repeating.
The guy for whom the wake was, George Korinek, was a band member in a few bands from the 1960's until he died in 1987. Besides being a session musician, he formed a band I saw playing around Michigan, Wilson Mower Pursuit. He also played/formed a band called Shadowfax which played in the clubs in Detroit referred to as the Cass Corridor. Later he took a financial interest in the club where I attended his wake.
Here's the personal history of a musical student of George's. It has some great info, only in Detroit. The Motor City was also The Music City. Where-else are you gonna find a story mixing the blues/rock & roll, and automobile production and supplies? I am thankful for the writer, for taking the time to recall so-much from his formative years, into adulthood, and the influence this musician had on him.
Tribes of the Corridor Discussion: George Korinek (corridortribe.com)
I knew George Korinek mostly as my guitar teacher and mentor. I was 7 years old in 1964 when I had my first guitar lesson with his dad, Al Korinek, at Welsby Music in Farmington, MI. For my next lesson, he turned me over to his 18 year old son, George, who would influence my musical direction over the next eight years. He took me through the basics of music theory, which I resisted as much as any kid who just wanted to rock & roll. I remember his patience and his persistence each week, as he assured me that this was the way to learn what I wanted to do, which was to express myself through my instrument. I had to learn "Big Rock Candy Mountain", before he would teach me "Day Tripper".
My first read of Rolling Stone was one of his issues (back when it was still a newspaper format), which he told me to make sure my Mom didn't see. He would lace our lessons with stories of the Detroit music scene. Tales of shows at the Grande Ballroom, the Palladium, Alvin's, and numerous other venues would lead to an assignment for my next lesson, which could be to listen to Jimmy Reed or Albert King and nail a passage, in addition to learning his father's notation of "Misty" or "I Left My Heart In San Francisco". He was passionate about his music and about all music. While he was a committed blues player, there were no barriers, and every style of music was fair game.
He would tell me, "Whatever you play, make every note count." He loved the blues because it left space for expression. When he played, his eyes would close, and you could tell that he felt every note he played. He was an expressive guitarist, with a great control of dynamics. It didn't matter that he was playing his Les Paul or Byrdland through a small practice amp, so quietly that it wouldn't disturb the lesson in the next room. He could have been on stage, for the way he looked.
When I was 14, he took me to a show his band played at the Birmingham Palladium, February 6, 1971. Edgar Winter's White Trash headlined. George's band, Lucky Dog, was the opener. I looked forward to that night, because I finally had the opportunity to see George onstage. Lucky Dog was powerful and tight. As best I can recall, Lucky Dog was Shadowfax, because it was George, Bill Hodgson, David Opatik, and David Chambers.
After their set, we saw a bit of the Tin House set and then went back to the dressing room. One of the guys said to me, "Hey, kid! Wanna see Edgar's band?" He pulled back part of the masonite partition between the dressing rooms, so that I could look in on White Trash hanging out before the show. We went back out and stayed for all of White Trash. It was a fantastic night.
Eventually, George stopped teaching, and we lost contact. I saw him many years later at Alvin's, after someone told me that he was one of the owners. It was a few years before he left this earth. I can't pretend to have any insight, but he seemed very disassociated from things. Friends told me that running the club was wearing him down.
I received a call from Gary Graff in 1987, who told me that George had died. Gary wrote a beautiful obituary which appeared in the Detroit Free Press. The service at the funeral home was somber, but, at times, moving. The room was full, a tribute to someone who clearly had touched them as an artist and friend. I felt then, as I do now, a tremendous loss, despite the years between.
I owe much to George, far more than I can write. While I believe that you cannot teach someone to have passion for music, you can put them on the path to find that passion within themself. He provided me with the history behind the Beatles, Cream, and Jeff Beck, by having me listen to Chuck Berry, Chicago and Delta blues, and Carl Perkins. This he wanted me to know, before teaching me contemporary music. When I play, my left hand is always anchored on my guitar, either at the bridge or by my pinky and ring fingers, or both - a rule he never let me break. And he taught me that all the trappings and posturing won't make the music good, and they often ruin it.
Most important, though, was his encouragement to make every note count. If it doesn't count, then leave it out. It is true for everything we do. It is the parallel between music and life.
Stephen Scapelliti
3-26-2005
And more on the Detroit band Shadowfax:
Letters 5/5/05 | Opinion | Northern Express
Shadowfacts
There were historical inaccuracies in Rick Coates‘ April 21 article entitled “The seasoned pros of Leo Creek” covering the playing life of Drew Abbott and Tim Sparling.
Coates mistakenly credits Sparling with forming the Detroit Cass Corridor band Shadowfax and gives the impression that Abbott started to jam with the band after Sparling was with the group.
Detroit’s Shadowfax was formed in 1968 by George Korinek (bass guitar; formerly with Wilson Mower Pursuit), Bill Hodgson (lead guitarist), Dave Chambers (drums) and Bill Vreeland (vocals). In 1969, Vreeland was replaced by David Opatik (bass and rhythm guitar; formerly with the original Amboy Dukes). Those four members - Chambers, Hodgson, Korinek, and Opatik - remained the core of the group. Shadowfax played at Cobb’s Corner, the Miami Bar, Harpo’s, and the Grande Ballroom. Shadowfax opened often for Mitch Ryder, opened for Ike and Tina Turner at Crisler Arena in 1971, and played Dally in the Alley; they remain a corridor legend – their live recordings are still circulating on tape and the internet.
In 1978, when Sparling joined Shadowfax, Abbott had already been jamming regularly with the band. Sparling followed two great keyboard players, Bobby McDonald (Bobby played on Motown recordings) and Boot Hill (previously with Billy C. and the Sunshine & Mitch Ryder). Incidentally, George Korinek bought Alvin’s and turned it into the Cass Corridor’s premiere blues club, giving Shadowfax a home base. Bobby died in 1981. Bill died in 1983. George Korinek died in 1987.
Mary Preston • via email
The guy for whom the wake was, George Korinek, was a band member in a few bands from the 1960's until he died in 1987. Besides being a session musician, he formed a band I saw playing around Michigan, Wilson Mower Pursuit. He also played/formed a band called Shadowfax which played in the clubs in Detroit referred to as the Cass Corridor. Later he took a financial interest in the club where I attended his wake.
Here's the personal history of a musical student of George's. It has some great info, only in Detroit. The Motor City was also The Music City. Where-else are you gonna find a story mixing the blues/rock & roll, and automobile production and supplies? I am thankful for the writer, for taking the time to recall so-much from his formative years, into adulthood, and the influence this musician had on him.
Tribes of the Corridor Discussion: George Korinek (corridortribe.com)
I knew George Korinek mostly as my guitar teacher and mentor. I was 7 years old in 1964 when I had my first guitar lesson with his dad, Al Korinek, at Welsby Music in Farmington, MI. For my next lesson, he turned me over to his 18 year old son, George, who would influence my musical direction over the next eight years. He took me through the basics of music theory, which I resisted as much as any kid who just wanted to rock & roll. I remember his patience and his persistence each week, as he assured me that this was the way to learn what I wanted to do, which was to express myself through my instrument. I had to learn "Big Rock Candy Mountain", before he would teach me "Day Tripper".
My first read of Rolling Stone was one of his issues (back when it was still a newspaper format), which he told me to make sure my Mom didn't see. He would lace our lessons with stories of the Detroit music scene. Tales of shows at the Grande Ballroom, the Palladium, Alvin's, and numerous other venues would lead to an assignment for my next lesson, which could be to listen to Jimmy Reed or Albert King and nail a passage, in addition to learning his father's notation of "Misty" or "I Left My Heart In San Francisco". He was passionate about his music and about all music. While he was a committed blues player, there were no barriers, and every style of music was fair game.
He would tell me, "Whatever you play, make every note count." He loved the blues because it left space for expression. When he played, his eyes would close, and you could tell that he felt every note he played. He was an expressive guitarist, with a great control of dynamics. It didn't matter that he was playing his Les Paul or Byrdland through a small practice amp, so quietly that it wouldn't disturb the lesson in the next room. He could have been on stage, for the way he looked.
When I was 14, he took me to a show his band played at the Birmingham Palladium, February 6, 1971. Edgar Winter's White Trash headlined. George's band, Lucky Dog, was the opener. I looked forward to that night, because I finally had the opportunity to see George onstage. Lucky Dog was powerful and tight. As best I can recall, Lucky Dog was Shadowfax, because it was George, Bill Hodgson, David Opatik, and David Chambers.
After their set, we saw a bit of the Tin House set and then went back to the dressing room. One of the guys said to me, "Hey, kid! Wanna see Edgar's band?" He pulled back part of the masonite partition between the dressing rooms, so that I could look in on White Trash hanging out before the show. We went back out and stayed for all of White Trash. It was a fantastic night.
Eventually, George stopped teaching, and we lost contact. I saw him many years later at Alvin's, after someone told me that he was one of the owners. It was a few years before he left this earth. I can't pretend to have any insight, but he seemed very disassociated from things. Friends told me that running the club was wearing him down.
I received a call from Gary Graff in 1987, who told me that George had died. Gary wrote a beautiful obituary which appeared in the Detroit Free Press. The service at the funeral home was somber, but, at times, moving. The room was full, a tribute to someone who clearly had touched them as an artist and friend. I felt then, as I do now, a tremendous loss, despite the years between.
I owe much to George, far more than I can write. While I believe that you cannot teach someone to have passion for music, you can put them on the path to find that passion within themself. He provided me with the history behind the Beatles, Cream, and Jeff Beck, by having me listen to Chuck Berry, Chicago and Delta blues, and Carl Perkins. This he wanted me to know, before teaching me contemporary music. When I play, my left hand is always anchored on my guitar, either at the bridge or by my pinky and ring fingers, or both - a rule he never let me break. And he taught me that all the trappings and posturing won't make the music good, and they often ruin it.
Most important, though, was his encouragement to make every note count. If it doesn't count, then leave it out. It is true for everything we do. It is the parallel between music and life.
Stephen Scapelliti
3-26-2005
And more on the Detroit band Shadowfax:
Letters 5/5/05 | Opinion | Northern Express
Shadowfacts
There were historical inaccuracies in Rick Coates‘ April 21 article entitled “The seasoned pros of Leo Creek” covering the playing life of Drew Abbott and Tim Sparling.
Coates mistakenly credits Sparling with forming the Detroit Cass Corridor band Shadowfax and gives the impression that Abbott started to jam with the band after Sparling was with the group.
Detroit’s Shadowfax was formed in 1968 by George Korinek (bass guitar; formerly with Wilson Mower Pursuit), Bill Hodgson (lead guitarist), Dave Chambers (drums) and Bill Vreeland (vocals). In 1969, Vreeland was replaced by David Opatik (bass and rhythm guitar; formerly with the original Amboy Dukes). Those four members - Chambers, Hodgson, Korinek, and Opatik - remained the core of the group. Shadowfax played at Cobb’s Corner, the Miami Bar, Harpo’s, and the Grande Ballroom. Shadowfax opened often for Mitch Ryder, opened for Ike and Tina Turner at Crisler Arena in 1971, and played Dally in the Alley; they remain a corridor legend – their live recordings are still circulating on tape and the internet.
In 1978, when Sparling joined Shadowfax, Abbott had already been jamming regularly with the band. Sparling followed two great keyboard players, Bobby McDonald (Bobby played on Motown recordings) and Boot Hill (previously with Billy C. and the Sunshine & Mitch Ryder). Incidentally, George Korinek bought Alvin’s and turned it into the Cass Corridor’s premiere blues club, giving Shadowfax a home base. Bobby died in 1981. Bill died in 1983. George Korinek died in 1987.
Mary Preston • via email
Last edited:
Screwloose
Well-Known Member
Some of the nicest and whackiest people I've met are either musicians or bikers, or at times both. The best weekends away I've ever had combine these two groups of people also.
desert_max
Well-Known Member
Kind of like this forum too, apparently! (and those of us who don’t perhaps consider ourselves musicians are no less passionate connoisseurs)
Screwloose
Well-Known Member
I bought an entire litre of linseed oil for the 'Linseed Oil Self Combustible Guitar' 'fry your ass off model' project. Not knowing it spreads very well. I've coated the guitar about 6 times and only used about a quarter of it, and it started as bare wood.
Anyway after the guitar I was looking to use at least some of it up somewhere, and coated my wife's wooden deck chair with it. Looks great, but not sure if I have done the right thing.
Anyway after the guitar I was looking to use at least some of it up somewhere, and coated my wife's wooden deck chair with it. Looks great, but not sure if I have done the right thing.
Attachments
There are lots of fancy fireproof trash cans available in the $60 and up range...but this is all you really need.
You gun guys need to be aware of this also...some gun cleaning solvents can cause problems.
https://www.lowes.com/pd/Behrens-6-...V2w2WnkdSQoaWLWKtOsaAi0jEALw_wcB&gclsrc=aw.ds
You gun guys need to be aware of this also...some gun cleaning solvents can cause problems.
https://www.lowes.com/pd/Behrens-6-...V2w2WnkdSQoaWLWKtOsaAi0jEALw_wcB&gclsrc=aw.ds
dannymax is correct, a rated container with the spring-loaded top is how to safely store that stuff. Also, I've read reports of flammable solvents stored in glass containers, and receiving the direct rays of the sun through a window, can ignite. Storing materials capable of ignition in flammable-rated lockers is a good way to protect the workspace or homestead.
Parminio
Well-Known Member
Fun fact: Danish oil is cream cheese based.
Screwloose
Well-Known Member
Hence~~~~~Cheese Danish
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