Busy Weekend.

I guess I'm supposed to be "tweeting" stuff like this. LRC says that I'm supposed to use that for "I'm taking a dump" type posts. I can do that here--why would I want to subscribe to something else for people who aren't savvy enough to use feeds and aggregators and whatnot? Oprah is doing it, so perhaps I will. Maybe someday.

Friday night was my amazing tacos and vodka. I've actually been a light-weight since my ancient Chinese secret. It's a lot cheaper to catch a buzz since my Lenten booze fast.

Saturday, I awoke to no snow aqui (where was the 4 feet, dude). I cruised down to LRC's pad--it was 'nother story there--big car-sized snow boulders in the road and shit. Lame.

I wanted to see a movie to get out of the rain. We missed Fast and Furious, and I actually wanted to see He's Just Not That Into You, because Jennifer Aniston and Drew Barrymore are in it (hot chicks to me).

During the movie, I got a call back from dude who's bass I was interested in. I arranged to meet him later, after the kids were in bed.

We picked up the minivan of doom. The dumb asses broke a bolt off in the timing cover and replaced it for twice the price. I bit my tongue, because my Mexicans would've done it cheaper (free+parts) but it probably would've involved Bondo, a sledgehammer, JB Weld, or a die grinder (likely all four). The coolant that I smelled a couple of weeks ago was indeed a fucked up water pump--I called it but didn't press the issue at the time. Whoot to me for my nose diagnostic (when driving trucks, you have to use all your senses).

<bass nonsense>

I went to Aurora to investigate the bass. Indeed it was clean, with the modifications that are required to make a 1951 design usable with modern strings and amplifiers. I'm still lukewarm about the schoolbus bass (the color needs to grow on me still):



Dig that goofy strap con los conchos, hombres. That'll go away. It only requires Grover strap locks, and some of those white felt washers (I have a bunch of 'em 'round here somewhere). It has a modern bridge, a fret job, a decent case (with keys, of all things), a setup for heavy-gauge roundwounds (I'll have to fix that), an extra set of new strings, the original bridge (in the case), a Lindy Fralin ham-backer (I'm a believer in the Lindy's hand-wound creations)--the original single-coil pickup is also in the case. I was looking for a twangier toned bass, and this one delivers--I haven't fingered it out enough to use it for BLC yet, but it's tempting. We're doing just fine with the ultra-dark JZ tone on the orange one (with over-wound Lindys).

It was cool to get an instrument that I've had on my list, and meet another local player. None of my friends actually know much about bass guitars (everyone I know plays guitar, it seems). Certainly, my pals appreciate good bass tone, but how to obtain it is sort of mysterious to them. Along those lines, I love the title of this post, even if I think that it's lame to not do your own electronics.

</bass nonsense>

After picking up the bass, I went to Tito's show. I saw Spoke Shaver (Josh Cool's new band, not what I expected, but I need to tap his luthier skills for this damn Rick) as well as Lonesome Tommy and His Lovely Lushes (looking forward to a full-band at the Meadowlark). LRC got zapped by an energy vampire and wasn't coherent enough for any more, which was a bummer because the harmonium rock afterwards looked very very very interesting to me.

Today, I cleaned house and took it easy. Then, I went to rehearsal. We ran through the set for Saturday, and basically rocked. We haven't played together as a band in a non-writing or recording session in several months, and there was only one significant stumble (which we played through--Greg was distracting me--I fucked up a chorus on one of the "hits"). It's nice to be playing with a solid group that doesn't really get cobwebs. I think that the key is that we're focusing evenly on new material as well as old material for the show. The new, old, new, old format is great for the set. I'm so excited to play a 'real' show since our last three were "events." Indeed, this one is an event, too, it appears, but it's at our "home" venue. It's going to be fun.

<recording angst>

Apparently, my Hammond parts from Friday are going to be kept, even though I 'bout had a nervous breakdown recording 'em ('how the fuck am I going to get there from here'--it was totally slow-motion playing). It almost sounds like I had lessons, so that paid off for mom (truly a funny story), but it's so damn legato and liturgical that it's not exciting by any means. I'm holding down eight finger chords and paralyzed with terror while I await the next measure--it wasn't relaxed at all. I don't even know the names of the chords--minor sevenths with suspended fourths or something--I nailed the last chord, which is what matters for the song (is he going to beat her?). Tension and release and then, maximum tension (Gm + Gmaj, interpolated and arpreggiated, and lots of tremolo/vibrato on both).

</recording angst>

A New Project; A New Trick

Last night I got a demo of one of the tracks that I'm to do up a bass part for. This is really really sad music. I can do sad music, but I'm starting to wonder about doing so much of it. The best part is that I'm not sad (not happy either), and neither are my friends that are writing such material. It'll be good stuff, and another four tracks under my belt.

My new trick is that I can crack my loose rib in my sternum. It sounds terrible, but it actually only hurts as much as cracking a knuckle. This is totally something to have the D.O. take a look at next time I go in. Besides the new trick, the pain is subsiding (no estoy muriendo) and I feel great.

I need to put on some pants and get to work on this tune (super-excited).