#washtub bass

[eclctve]

Pig Blood 619 in La Mesa at the farmers market

Friday, 13.05.2022

My wife and I enjoyed these gents today as we passed them by ☺️🎸

Check out their YouTube channel here

[explosiontooth]

Wish I had the capability to draw I NEED countryklok I think it would be funny

[mysticbeaver]

I couldn't draw Ed right and I gave up, but pretend he's also there playing the washtub bass

[beatleshistoryblog]

LECTURE 4: INFLUENCES (PART 1): Typical of so-called “jug bands” in the American South was WHISTLER’S JUG BAND, one of countless such acts that flourished across the region. Most jug bands were very lively, and involved a mix of professional musical instruments (guitars, horns, drums) and amateur ersatz musical instruments. including corrugated washboard scraped with a metal thimble or a bass constructed with a broomstick and a single string attached to a washtub, wooden box, or tea chest.  This genre of music flourished in the 1920s and early 1930s, but was largely eclipsed by the Blues as the 1930s drew to a close.  The British skiffle craze of the 1950s was direct descendant of southern American jug bands.

[burlveneer-music]

schroothoop - MACADAM - for a band that makes instruments out of scrap, the music is more mellifluous than I expected, favoring international grooves over skronk

Belgian junk jazz trio schroothoop (which translates as ‘junk yard’) bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called ‘MACADAM’ will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene. In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). “Music on homemade instruments with a surprisingly good result” (De Standaard). “Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk.”(Written in music). “We assure you that this “scrap heap” is worth gold!“ (Le Grigri). On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments. The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders. The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of “junk jazz”, Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city’s melting pot.

[humongouscasheaglebagel]

I brought this guitar for a friend who’d flown in for my Sierra Club service project & wanted to try my Chet Atkins Gretsch. We had quite a combo: me on lead, the friend on this acoustic guitar, another on washtub bass, & some singers.

[tagomago]

we have got to bring back the washtub bass to popular music

[zannolin]

i love you dulcimers i love you banjos i love you washtub bass i love you fiddles i love you accordions i love you harmonicas i love you dolly parton i love you done me wrong country i love you johnny cash i love you good country music i love you instruments people hate on because they associate them with the american south

[sohannabarberaesque]

Postcards from Snagglepuss (Minnesota State Fair edition)

One mountain lion, two bands, one bucket of French fries--so what could go wrong?

When you consider that Minnesota is among the top five states for potato growing, it just follows inherently that much of Minnesota's potato crop turns up at one of two stands so specialist. In this case, we deal with World's Greatest French Fries, having a modest stand kitty-corner from the Visitor Plaza (and we're not talking about the Cattanooga Cats here--or are we?)

"Fantabulous fries!" was how Scoots, the rather dimunitive jack-of-all-trades with said Cattanooga Cats, explained it. Scoots, I will have you knowing, is quite the master of musical insturtmentality, adroit in the likes of standup bass, washtub bass, banjo, acoustic guitar, harmonica, slide whistle, musical saw, fiddle, Gahoon--need I say moar?

(Oh, and did I mention he's the band's resident storyteller?)

"Heavens to See Rock City!" exclaimed I as the all-feline quartet approached me on Dan Patch Avenue. To which Kitty Jo, the ever-attractive feminine lead who can be mistaken at times for one Daphne Blake in a certain meddling-kids-and-dog franchise tending to the overbaked, admitted that the allusion to barn sides promoting the cheesy attraction atop Lookout Mountain across the South, while whimsically well-meaning, was itself probably getting overbaked. "As a matter of fact," Kitty Jo admitted, "we keep getting asked on tour about Rock City and Ruby Falls thanks to all the barn sides throughout the South."

"And you wonder if it's bound to wear you down," remarked band leader Country.

At which time strode no less than The Banana Splits "themselves," on something of a road tour of redemption from a rather tasteless, R-rated even--"Horror Violence and Gore" being the rationale--movie treatment, which, given their looks, would hardly be incognito if such was what Bingo, Drooper, Fleegle and Snorky were after all this time.

Snorky, according to Drooper's interpretation, couldn't help but be surprised that their musical rivals, the Cattanooga Cats even, were at the Minnesota State Fair. Bingo, understood to be a gorilla/orangutan cross, admitted to being peckish for some French fries, rather legendary French fries, a whole bucket even!

To which yours truly, out of a sense of chivalry, decided to buy a large share bucket, and that both Splits and Cats, as well as yours truly, would share in on same. Now mind you, said bucket was about the same size as one such for the old Kentucky Fried Chicken, if you know what I mean, yet the fries turned out being freshly-cut, skins on even ... and you can just imagine how all nine of us in our common party (or is that "par-tay"?) were able to go through the entire of it whereas, more often than not, your average large fries bucket winds up being wasted and thrown in the trash. Thankfully, to be composted in the end.

Tra-la-la and ja-ba-da indeed!

(Though I must admit that not long afterward, the likes of Wally Gator and a certain Dum-Dum wanted me to join them in some battered cheese curds. Which yours truly politely declined, acknowledging that he was too full from a shared bucket of French fries with The Banana Splits and the Cattanooga Cats ... the latter leaving Wally Gator perplexed at just who they were. Still, a couple of Tums for the chaser rounded out a decent little evening.)

*************

@warnerbrosentertainment @hanna-barbera-land @warnerbros-blog1 @screamingtoosoftly @cottoncandy-wannabe @straights-world @hanna-barbera-blog @jellystone-enjoyer @nighttimehound @stuffaboutminnesota @theweekenddigest @thebigdingle @hanna-barberians @wackology @thylordshipofbutts @themineralyoucrave

[suncaptor]

apparently I seem like a natural at washtub bass because I have a good ear 🥺🥺

[mathewryf]

Okay got a FNAF take. I know Foxy is usually thought of as one of the "Main 4" in terms of the band, but lately I've been seeing him as mostly his own independant artist that also happens to join up with the band. With Monty and Roxy both being added to the core band, and being VERY GOOD additions at that, I've started to see the Fazbear gang as a 5-to-6-man band at the group's peak.

Freddy on Vocals

Bonnie could be on either guitar OR bass

Chica can do both vocals AND/OR guitar

Foxy being an accordion player adds one hell of a flair to the band, especially considering how versatile accordions actually are. Depending on the type, foxy could bring an entire orchestra of sound. It's also why I find it likely he'd do his own thing (plus he's a PIRATE)

Monty of course is a bass player, although with his whole backstory being a one-man JUG BAND of all things he probably has skills with a few unconventional instruments (an actual jug, a banjo or even a washtub bass).

Roxy having a keytar is neat as hell. There's a lot of cool things she could do considering how versatile a keytar is.

Honestly that's a pretty unique lineup of instruments and talents.

I'm surprised there isn't a drummer among them though xD

Anyways, take over!

[hammondcast]

Jon Hammond Show 08 19 2023

Jon Hammond Show 08 19 2023

#WATCHMOVIE HERE: Jon Hammond Show 08 19 2023

Jon's archive https://archive.org/details/jon-hammond-show-08-19-2023

Youtube https://youtu.be/i1GzR_NDNhU

Jon Hammond Show 08 19 2023

by Jon Hammond

Wow, today Willie Chambers told me these words ""Time Has Come Today again!" I was there in the front row 56 years ago when The Chambers Brothers came first time to San Francisco State University San Francisco State Folk Festival March of 1967 - they blew everybody's mind! Peace and Love everybody - I'm very happy to report Willie Chambers is doing great and still performing in So. CA! - Jon Hammond

#thechambersbrothers

#timehascometoday

#time

#SmashHit

The band scored its only major hit in the fall of 1968 with "Time Has Come Today", an 11-minute opus written by Joe and Willie Chambers and highlighted by echoing vocal effects and Keenan's drumming which gave the song a psychedelic feel. "Time Has Come Today" was edited for release as a single and spent five consecutive weeks in September–October at #11 on the Billboard Hot 100, just missing the Top Ten.

Willie Chambers (born March 3, 1938) is a singer, guitarist, and former member of The Chambers Brothers, a rock band in the 1960s with hits "In The Midnight Hour", "I Can't Turn You Loose", and "Time Has Come Today". He continues to be a regular attraction at various venues in Los Angeles and further afield.

Later incarnations of the group included session guitarist Steve Hunter (known for his work with Alice Cooper) An album recorded in 1972 for Columbia, Oh! My God, has remained unreleased until October 28, 2022 when it was finally made available through multiple digital platforms. Although the group disbanded in 1972, they reformed and moved from Columbia to Avco Records and released Unbonded (1974) and Right Move (1975). In 1976 the brothers released Recorded Live In Concert on Mars for the Roxbury label. They have toured irregularly since.

They were signed to support Maria Muldaur on her Gospel Nights album. They also made commercials for Levi's Jeans.

Originally from Carthage, Mississippi,[3] the Chambers Brothers first honed their skills as members of the choir in their Baptist church. This arrangement ended in 1952 when the eldest brother, George, was drafted into the Army. George relocated to Los Angeles after his discharge, and his brothers soon joined him. Beginning in 1954, the foursome played gospel and folk music throughout the Southern California region, but remained little known until 1965 when they began performing in New York City.

Consisting of George (September 26, 1931 – October 12, 2019) on washtub bass (later on bass guitar Danelectro and Gibson Thunderbird), Lester (b. April 13, 1940) on harmonica, and Willie (b. March 3, 1938) and Joe (b. August 22, 1942) on guitar, the group started to venture outside the gospel circuit, playing at coffeehouses that booked folk acts. They played at places like The Ash Grove, a very popular Los Angeles folk club. It became one of their favorite haunts and brought them into contact with Hoyt Axton, Ramblin' Jack Elliott, Reverend Gary Davis, and Barbara Dane.[6] When Dane spotted the brothers there, she knew they would be perfect to do these freedom songs that people wanted to hear then. Dane became a great supporter, performing and recording with the brothers. With the addition of Brian Keenan (January 28, 1943 – October 5, 1985) on drums, Dane took them on tour with her and introduced them to Pete Seeger, who helped put the Chambers Brothers on the bill of the 1965 Newport Folk Festival. One of the songs they performed, "I Got It", appeared on the Newport Folk Festival 1965 compilation LP, which was issued on the Vanguard label.

Lester moved to New York and formed a band with former Electric Flag bassist Harvey Brooks. Guitarists Willie and Joe would find work as session men; George went back to singing gospel music and would later become a deacon of his church. Keenan retired to Stamford, Connecticut where he set up his own recording studio, and died of heart failure in 1985

American Session Drummer, Lee Szymborski, also from Stamford Connecticut, was hired by George Chambers to replace Brian Keenan in 1980, in Los Angeles, CA., and performed live with The Chambers Brothers at the Hollywood Bowl's Fourth Annual Survival Sunday Anti-Nuclear Benefit Concert, with Bruce Springsteen, Jackson Browne, Stephen Stills, Bonnie Raitt, Graham Nash, Gary U.S. Bonds, Peter Yarrow, Kenny Rankin and others in Los Angeles, CA. on June 14, 1981. Lee Szymborski also performed live with The Chambers Brothers and Etta James for two shows at McCabe's Guitar Shop, 3101 Pico Blvd. Santa Monica, CA. July 16, 1981. Lee Szymborski left The Chambers Brothers and joined the critically acclaimed Louisiana Cajun group; "The Savery Brothers" in San Diego, CA.; also playing recording sessions notably with Legendary Country Music Artists Merle Haggard, Doug Kershaw, Johnny Paycheck, Asleep at the Wheel, and Juice Newton. Lee Szymborski currently records and performs in Las Vegas, Nevada.

In 2006, guitarist Willie Chambers sat in with a group called Vince and the Invinceables at a benefit concert for Arthur Lee of the group Love and delivered an acclaimed performance.

In 2015, Joe Chambers was appearing at venues such as Harold's Place on Pacific Ave. San Pedro as The Joe Chambers Experience.[

In 2016, Willie, Joe, and occasionally George, along with their nephew Jerry Warner on bass, Crazy Tomes on guitar, and LA drummer Jon McCracken, reformed as the Chambers Brothers to do shows in the Los Angeles area;[20][21] including the Grammy Museum at L.A. Live.[22]

George Chambers died October 12, 2019, at age 88.

Joe Chambers collaborated with Marva Holiday, recording their version of "To Love Somebody".

Summer of Soul

In 2021 the Chambers Brothers appeared in the Questlove music documentary "Summer of Soul," about the 1969 Harlem Cultural Festival.

Members

In 1970, there was some confusion whether The Chambers Brothers were still with their label, Columbia. The source was an article in the March 28, 1970 issue of Record World. Apparently, singer Judd Hamilton was at a party for an American International Records signing and there was confusion about the Chambers Brothers signing to the label and whether or not Hamilton was a member of the group. The next issue of Record World, (April 4) clarified that The Chambers Brothers were not with the American International label and were still with Columbia Records. It also stated that Hamilton was not a member of The Chambers Brothers.

There was another error, this time by Cashbox magazine, in the April 18 issue. Cliff Chambers who had his own label Cyclone Records and composed “Finders Keepers” and “Somebody Ought to Write a Book” was credited with being a member of The Chambers Brothers while he was signing a contract with Kent Records. The error was picked up and Cashbox wrote in the May 9 issue (Cliff Chambers Not Ex-Chambers) that the group's manager, Charles H. LaMarr said that Cliff Chambers was never a member of the group and that the Chambers' included Joseph Chambers, George Chambers, Willie Chambers and Brian Keenan.

John Castellano joined the band as a guitarist, touring with them during 1971 and 1972. This came about as a result of the brothers finding out that Castellano's mother made the clothes that Jimi Hendrix wore. They headed out to Bath Avenue, in Brooklyn to have the clothes fitted and heard Castellano playing on guitar. Eventually Castellano came on board.

Publication date 2023-08-12Usage Attribution-NonCommercial-NoDerivs 4.0 InternationalTopics Public Access Television, Jon Hammond Show, Music, Travell, News, Photography, Manhattan Neighborhood Network, Hammond Organ, HammondCast, Hammond ReportLanguage English

Jon Hammond Show 08 19 2023 from organist Jon Hammond, Music, Travel, News, Photography - 40th year on Public Access Television - 28 minute program. Manhattan Neighborhood Network MNN - air time: 01:30AM late Friday nights.Addeddate 2023-08-12 12:47:10Color colorIdentifier jon-hammond-show-08-19-2023 

 Topics Public Access Television, Jon Hammond Show, Music, Travell, News, Photography, Manhattan Neighborhood Network, Hammond Organ, HammondCast, Hammond ReportLanguage English

Topics, Public Access Television, Jon Hammond Show, Music, Travel, News, Photography, Manhattan Neighborhood Network, Hammond Organ, HammondCast, Hammond Report, Language English

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Labels: Hammond OrganHammond ReportHammondCastJon Hammond ShowLanguage EnglishManhattan Neighborhood NetworkMusicnewsPhotographyPublic Access TelevisionTopicsTravel

[i-taste-the-revolution-xxx]

Pigeon Pit - Feather River Canyon Blues

Pigeon Pit’s 2022 album Feather River Canyon Blues is, in my opinion, the most relevant US protest music of the year. A star of folk punk’s newest wave, Lomes Oleander is a multi-faceted, endlessly passionate artist whose work never fails to surprise and impress. Her latest release, FRCB is a folky, much more overtly political stray from her usual borderline-emo, acoustic works. There are still of course the vital songs of queer love and queer self-acceptance, but FRCB features the anthemic protest songs Milk Crates and Soup For My Family. The album delves into the simple—but full-of-struggle—rural American life, particularly through the eyes of a visibly queer person, and where Oleander finds her joy and calm and escape in the midst of it all. The album primarily features acoustic instruments and country music essentials—acoustic guitar, steel guitar, fiddle, banjo and a wobbly, all-permeating washtub bass—fronted by Oleander's’ gritty, breaking voice. Her sophomore album, Shut In, framed her as a staple in the folk punk genre, while this last release brought her more mainstream fame. She was raved about by NPR’s music journalists, named in the top albums of the year, and brought on to perform a live set for NPR’s Tiny Desk, where Lars Gottrich described her songs as “offering some sweetness in a world that doesn’t always share the same in return.”

So, going in order, here are my three favorites off the album:

Track 5: Empties

This is without a doubt my favorite song off this latest release—maybe off all of her releases (though Wichitalk is tough competition). Empties is a love song. It’s a song about the small shows of intimacy, how one person takes care of another, how deeply two people can become intertwined, and what it means to miss someone. The beat is light and fast and impossible not to dance to, while the lyrics will worm their way into your head and leave you absolutely enamored with Pigeon Pit.

2. Track 3: Milk Crates

A protest song, Oleander prefaced her Tiny Desk performance of Milk Crates with a speech on the inaccessibility of trans healthcare and abortion, the construction of Atlanta’s “Cop City”—a heavily protested police training camp whose construction is draining the city of resources, putting marginalized people in even more jeopardy and is responsible for the destruction of massive chunks of the Weelaunee Forest—as well as the stigma and discrimination against people with substance abuse and mental health struggles and the country’s pervasive homelessness epidemic, as well as other things. 

The opening verse goes:

"Like a dog tugging on a rope

I don't even know where I'd go if they let go

In my selfish narrow mindedness

They put up a chain link fence

Now there's nothing I can do but bark my head off

But we're not fucking playing

I got these teeth for a reason

I know that it's life or death, I can't forget it

I lie down and you kiss my forehead

I tell you I'm just fucking exhausted from work

I don't wanna get drunk, I don't wanna go out

It feels like survival just isn't enough, is it?"

Milk Crates is one of the overtly political songs on the album, calling out the unethical treatment of workers in the country, the systematic oppression that props up all of our social structures, and the powerlessness we all feel when we become aware of the ways we’re being taken advantage of. She doesn’t resolve these tensions for us, but she describes to us the ways in which she lets go and what she lets go of in order to still live a loving and fulfilling life:

"And there are things in your life

That you were made to run away from

But it's not your grief, or your pain

Or any other kind of love"

She finds comfort in people and in herself and in her community, and really in anger and protest itself. Her passion and her will to change the world just pours out of her, and as a listener you can’t help but to feel that flame spark inside of you too.

3. And last, but by no means a subpar song is track 4: River Song

River Song is another love song, a song (in Oleander’s words) “about going swimming with your friends��� and how “ there’s really nothing more important”. It’s about platonic love just as much as it is about romantic love. It’s about the role friends play in one’s personal growth and how desperately we all need each other. It’s about letting go of the pressure to mask and to perform for other people, and just giving into the love and chaos that people will pull out of you.

So, definitely, definitely, definitely go check out the album:

And if you have time and want to see Pigeon Pit’s incredible performance on Tiny Desk, I really highly recommend it. This set includes Empties, Milk Crates, River Song, Soup For My Family, and Wichitalk, my favorite song off her last album, Shut In. She’s amazing; please go check it out if you found this at all appealing. 

Link: https://www.youtube.com/watch?v=3Wp99TlXu8U