Scott performing at KROQ Almost Acoustic Xmas at Universal Amphitheater in Universal City, CA on 12/05/97. Photo by Kat Monk.
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Duffy- Mercy
A blues chord progression in a modern song
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Omg 12 bar blues ilysm let me give you a kiss muah
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Escucha un adelanto del disco de 25 aniversario de Scott Weiland “12 Bar Blues”
Pasó un largo tiempo para tener una reedición conmemorativa del primer disco solista de Scott Weiland 12 Bar Blues y el cual estará remasterizado y editado por primera vez en Vinyl además de incluir ocho temas inéditos que sólo habían estado incluidos en la versión original que se presentó a la disquera para que más tarde sólo fueran incluidos los temas que conocimos en la presentación del…
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Scott Weiland - 12 Bar Blues
Il biglietto da visita di un’artista in difficoltà umane-lavorative, un talento immenso e la sua infinita voglia di creare, di staccarsi dal presente fatto d’etichette e problemi. Questa la prefazione per introdurre 12 Bar Blues, il debutto solista di Scott Weiland, frontman dai crismi e il destino di maledetto, reduce da un arresto, dalla travagliata separazione dalla prima moglie ma soprattutto…
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"What are you doing?" "The 12 bar blues." "Why?" "I want to see what he does."
"Hey, it's a classic for a reason," Sam (formerly Bonejangles) Thatcher says, grinning. "And if you give me a few more minutes, I think I can come up with a ditty to match it."
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funny that, bocchi the rock got me into guitar and bass, but it's all brought me back to loving earthbound...
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12 Bar Blues in G
This is an original instrumental from the first Forthlin Road tape (also known as the Kirchherr tape) from April/May 1960. It's called instrumental #1 on Strong Before Our Birth.
There is a prominent, simple bass line, played by Stu. And two guitars, one strumming, one picking. We’re guessing the strum is John and the pick is George, but we don’t have a lot to base that on.
This is our first guest post! From @peaceloveandstarrs (an instrumentalist):
It starts out in a sort of random, rambling sort of way, like they're trying to figure out exactly what it is they wanna play, maybe settle on a key signature. But once they settle in, it gets a nice little groove.
The melody is simple, and the bass and rhythm lines are almost plodding along for the most part, keeping time which makes sense since there's no percussion at all. There are a few moments where they go into a triplet rhythm, which I'm going to guess is normal for this style. Not a blues player, the closest I’ve gotten is playing in a jazz band. Close but not quite.
The tempo changes keep it interesting. And George changes the melody as the song goes on, making it more technical, more complicated. Definitely a sign of his growing talent and future writing ability! Makes listening to the songs he would come to write as a Beatle and later his solo career that much more interesting, knowing where he started. I’m pretty sure this was recorded as an improvisation, if I remember correctly, so he was coming up with this melody on the spot. Such an admirable talent given I can’t improvise at all.
The ending is definitely the most interesting to me. I can tell they're trying to make an exciting finish, end it with a flourish, that kind of thing. The little pause right before the final push to the end is a tease, making you think they're done. But wait, there's more! Always fun.
Overall, it's a nice little track. I wish the balance had been better at times - sometimes the bass and rhythm lines overpowered the melody - but I'm gonna guess that's a product of the technology of the time. Again, pretty impressive to think that they did this on the spot, no prior rehearsal or writing.
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🕵️♂️ there’s a link between “stranger in my own home town” off from memphis to vegas by elvis released by rca in 1969 & three words shouted in the middle of a bob dylan/george harrison recording session in 1970. im definitely wrong it means nothing it proves nothing & its indicative of absolutely nothing OTHER than bob turning on the radio at some point in february of 1969 and he & george sharing a common interest in elvis but in this essay i will
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Gary Clark Jr. - 12 Bar Blues-Jam @Jam'in'Berlin
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