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Clarence Plays the blues..NashvilleWest/Roustabouts style
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Dogbear



Joined: 23 Jun 2007
Posts: 275
Location: Florida

PostPosted: Sun Oct 31, 2010 2:04 pm    Post subject: Reply with quote

Bob, thanks so much for the track..... I think we have all played "Honky Tonk" at one time or another. Cool stuff, Clarence really pushes the box....
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Silverface



Joined: 23 Aug 2006
Posts: 324
Location: Hermosa Beach CA

PostPosted: Sun Oct 31, 2010 8:43 pm    Post subject: Reply with quote

If you were to tab this one out (Brian - don't do it! You'll never finish the bender projects....'cause it'd take years!). Very Happy. you'd find most of it in the "blues box".

As opposed to Bloomfield or Clapton...or especially B.B. King...Clarence is playing out of the same general "geography" but in a chord-based approach, based largely on hybrid picking; where B.B. Has rarely played a chord in his life Clarence's playing is all about chords,but in pieces.

I can relate as I have a kind of schizoid style - I play a lot of country-rock (or alt-country, or whatever the latest term is) but have played with a number of blues bands. What's evolved over the decades (when you also add 10 years of all bluegrass, early surf and a heap of blues-rock into the mix) is my peculiar way of shifting gears, going from Bloomfield-ish single note playing to an eerily similar type of blues that Clarence plyed on that track (I don'play mny behind the nut bends, though).

I guess the best way to describe it is that one approach is attacking the "box" in a linear fashion...scale-based but not *thinking* "I need to go to a melodic minor next, and then descend with a pentatonic and 4 chromatic notes to the next "box" down". It's just instinctive and comes from experience.

The Clarence-approach is to grab a major or minor chord position (say an "A" minor pentatonic...a description of something most players recognize but isn't "real") from the 5th to 8th fret as "first base" and work in a multi-tasking manner thinking "sideways" with partial banjo rolls and arpeggios. The stuff that causes double-takes are ignoring rigid timing ( which just takes both practice and I think an inherent skill that you have or don't...some never "get" it and sme can' get OUT of it. Shocked.

Then it's learning to NOT copy anyone - I consider myself an average player, but no matter what I play others seem to know it's me (which may really suck if I do!). You have to throw away the tab, just take pieces of the *concepts* and stretch the envelope. Take risks and realize there ARE no wrong notes.

Bob could have simply copied Clarence....but he didn't, sounds like "Bob" and created his own distinctive style (personally I think Bob has been criminally overlooked as far as influential stylists go; I honestly think more bender players have copied Bob's playing than Clarence's, as Bob's work has probably been heard more in the commercial music world).

Anyway - single-note thinking vs chord-based thinking. Those are , IMO the two distinctive sounding approaches to the blues box.

And I sure would like to hear more of those recordings!

(from the beach via iPad)
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MarkT



Joined: 24 Aug 2006
Posts: 57
Location: Chandler, Arizona

PostPosted: Mon Nov 01, 2010 4:16 am    Post subject: Reply with quote

That was a great post Silverface, thanks!
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Don Miller



Joined: 23 Aug 2006
Posts: 238
Location: Anchorage, Alaska

PostPosted: Mon Nov 01, 2010 9:22 pm    Post subject: Reply with quote

Yeah I listened to "Honky Tonk" on my way into work...very familar progression..yeah we all have played it many times...and Jim's right...alot of minor pentatonic-blues scale stuff...right in the box...and then those wacky harmonic behind the nut bends...and the various other "Clarence-isms" thrown in...gives a guy a little bit to study...

Its interesting how much of his style was already set..the unique phrasing, little rhythmic things etc...

Thanks much for coming up with that recording...
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mwhite



Joined: 23 Aug 2006
Posts: 205
Location: Antioch TN

PostPosted: Tue Nov 02, 2010 12:48 am    Post subject: how cool is this ?? Reply with quote

Oh..... my .. sweeet .. Cool !!
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bossaroo



Joined: 25 Aug 2006
Posts: 92
Location: FL/NC/CostaRica

PostPosted: Thu Nov 04, 2010 5:55 am    Post subject: Reply with quote

wow. this is HUGE!!!

so great to hear "new" Clarence... and he's just stretching the heck OUT!!!

any chance of compiling your tapes into an official release, Mr. Warford sir?
it's just too good not to.
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jimmydeluxe



Joined: 22 Nov 2006
Posts: 64
Location: Christchurch, Dorset, England

PostPosted: Sat Nov 06, 2010 8:12 pm    Post subject: Great! Reply with quote

That is amazing! Thanks so much for posting that link Brian! Please please can we get some more of this!? I'm learning so much from being able to really hear Clarence!

Thanks
Jimmy
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davidge1



Joined: 18 Dec 2006
Posts: 16

PostPosted: Tue Nov 09, 2010 4:48 pm    Post subject: Reply with quote

Wowl! this is awesome! Thanks so much for putting this up. I'm really excited to hear this.

One thing that's so great about this recording is that the guitar sound is so clean (kindat sounds like he's running direct into the mixing board)... you can really hear exactly what he's doing because there's no overdrive from the amp.

I'd agree that there should be an official release if there's any more! I would LOVE to hear more.

As for CW playing on a 12-bar blues, I can't believe no one's mentioned BB Class Road.
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davidge1



Joined: 18 Dec 2006
Posts: 16

PostPosted: Tue Nov 09, 2010 5:04 pm    Post subject: Reply with quote

>>I really wish I knew how he was pulling of that da-di-da-di-da backing rhythm style he used so much on the Nashville West album and other albums. Can anyone offer some insight?

I'm no expert here, but I'm right in the middle of trying to learn his playing on Mental Revenge (on Nashville West). For what you're talking about, I think he's doing this: playing on three strings... using the pick for the lowest note, first finger for the next string, and middle finger for the highest string. The top two strings are plucked together (double stop), pulled out slightly so they snap against the fingerboard, alternated with the bottom string note.

Sometimes he does a rhythmic 6/4 thing (triplets) where, I think, he plucks the double stop, then does a muted "non-note" with an upstroke of the pick, followed by the actual note with a down stroke... James Burton style. You can hear this right after the line "you only made me blue" when it goes to the G chord.

Like I said, I'm no expert... but I don't my approach is too far off.
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davidge1



Joined: 18 Dec 2006
Posts: 16

PostPosted: Tue Nov 09, 2010 5:36 pm    Post subject: Reply with quote

Try this for a little rhythm over the C chord:

--3------3--3-------3--3------3---3-----
--3------3--5-------3--5------3---5-----
-----5----------5----------5-------------
-------------------------------------------
-------------------------------------------
-------------------------------------------

Barre the top two notes with your first finger, then add the extra note with your pinky.
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davidge1



Joined: 18 Dec 2006
Posts: 16

PostPosted: Tue Nov 09, 2010 7:33 pm    Post subject: Reply with quote

Sorry, I did that wrong. It's more like this. I dont know how to indicate a pull-off, but every time you do double stops in a row, you pull off your pinky. So...

----3------3--3----------3--------3--3------------3
----5------3--5>3-------5--------3--5>3---------5
5------5--------------5------5----------------5-----
---------------------------------------------------
---------------------------------------------------
---------------------------------------------------
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Brian



Joined: 22 Aug 2006
Posts: 1361
Location: Southern California

PostPosted: Sun May 29, 2011 5:10 pm    Post subject: Re: Clarence's take on a Twelve Bar Blues Reply with quote

Brian wrote:
Here is a rare track that is as close an example as possible of Clarence playing a 12 bar blues. Bob Warford can fill in the historical background of this track... Thanks Bob!

http://www.clarencewhiteforum.com/mp3/Honky%20Tonk.mp3


Everybody Honky Tonk !

Happy Memorial Day weekend Cool
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Brian



Joined: 22 Aug 2006
Posts: 1361
Location: Southern California

PostPosted: Sun May 29, 2011 5:27 pm    Post subject: Reply with quote

davidge1 wrote:

As for CW playing in a 12-bar blues, I can't believe no one's mentioned BB Class Road.


I just remembered I came across a live version of BB Class Road that is really great...Clarence really rocks out this...

http://www.clarencewhiteforum.com/mp3/BB_Class_Road_live.mp3
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Murr



Joined: 24 May 2008
Posts: 384
Location: http://www.youtube.com/user/skydogz1

PostPosted: Wed Jun 01, 2011 5:51 am    Post subject: Reply with quote

The ultimate bluesy thing I've ever heard (by anyone) is "Hold It" on Untitled.
.
.
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Fingers



Joined: 12 Oct 2009
Posts: 1
Location: Los Angeles

PostPosted: Sun Jun 05, 2011 6:53 pm    Post subject: Reply with quote

Oh my lands! That is something sweet!

Right at about 1:06 to the harmonic bend at 1:19, as I was reading through the thread, I thought "ah cool.... the first bender licks"......being as I know very little about Clarence's style and benders in general. But then I was amazed to read that Bob Warford said it was just a stock Tele. Very nice,

The pedal steel solo that starts at 1:45 is kinda unusual to me...it had a fast and deep modulation on it from what I hear....like a Rotovibe pedal or a Univibe or something, set to fast. The licks were not your typical pedal steel licks at all, well to my ear. The phrases seemed very guitar-like and they almost sounded like organ parts in places....very cool. In parts I was reminded of SRV's Family Style album. I gotta look up that player.

What I also found so interesting was the location of the gig. What is interesting and sad to me is how, in Los Angeles, stuff just does not last. There is so little sense of the REAL history in this town compared to other cities in the USA and for sure the UK and Europe in general. Stuff get's tore down and new stuff goes up without a seeming care for historical importance.

So many wonderful places lost to the wrecking ball.

I know this is an old thread someone resurrected, but thanks to all involved. Finding this recording right after I got up really made my morning, and set me off on the right foot today.

I am with davidge1, who asked if more of that set is available and whether it can be obtained as a complete deal....some sort of official release.

BTW...nice little part there David. Thanks. Something new for the vocabulary. You might be able to just type a P or an H between the notes/fret positions to indicate a hammer on or pull off.

I gotta go play my B-Bender and try find some licks to learn.......which is why I came here.
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