Members *BLEEP* Posted September 13, 2012 Members Share Posted September 13, 2012 Stevie played 8-10 hrs a night, 6 nights a week for 10 years in every bar, joint, and club in Austin, TX before he got famous. ...and superglued his fingertips back onto his fingers on a regular basis back then, too Link to comment Share on other sites More sharing options...
Members w00dsy Posted September 13, 2012 Members Share Posted September 13, 2012 how to play blues by an awkward teenage dork. I wish i could play that badly now Link to comment Share on other sites More sharing options...
Members thecornman Posted September 13, 2012 Members Share Posted September 13, 2012 He was 16 in that video.16.I will admit that he overplayed a bit, however he was 16.16.At 16 he could mop the floor with most every player on this forum, overplaying or not.And imo, he's become a steller player today. Got to agree with this. Link to comment Share on other sites More sharing options...
Members JR13 Posted September 13, 2012 Members Share Posted September 13, 2012 i wish I could watch videos of me playing with robben ford 16 years ago and have people say I overplayed Link to comment Share on other sites More sharing options...
Members Dogsinotpalc Posted September 13, 2012 Members Share Posted September 13, 2012 What are you 10? No one is claiming nor needs to prove superiority to someone to evaluate the playing. It's all about what you hear. Age is also a bull{censored} factor. Gary Moore was much older when he decided to dedicate himself to blue-based endeavors and I feel the same way about him. Obviously great ability, but the playing doesn't interest me at all. As a rock player Moore stands out as among the best. As a blues player he's the epitome of the 80s rock guy blues playing stereo type. My big issue with Joe is that I haven't heard bring anything distinct to the table. There are tons of guys that churn out tons of blues-based stuff that have unique or relatively unique voices and I find Joe lacking in that area. Well, maybe not, because if I hear someone that sounds like Eric Johnson, but clearly isn't Eric Johnson...Joe's who I assume it is. Unlike knowing within a few notes that it's McLaughlin, Beck, Morse, Zappa, Lifeson, Trucks, etc. Link to comment Share on other sites More sharing options...
Members Angry Tele Posted September 13, 2012 Members Share Posted September 13, 2012 again, I think he sounds better on a Fender no matter how old he is. hes like the opposite of Clapton who sounds better (IMO) on a Gibson. [video=youtube;BLa7Err_0Nw] Link to comment Share on other sites More sharing options...
Members Red81 Posted September 13, 2012 Members Share Posted September 13, 2012 holy mother of stonewash! Link to comment Share on other sites More sharing options...
Members DaveGrima Posted September 13, 2012 Members Share Posted September 13, 2012 Lots of chops, but still immature non-stop wankery. He needed to learn that less is more. Less notes, and less donuts. Love the vintage acid-washed jeans! The early 90's still had a hang-over from the 80s. I love Joes playing today. Much more tasty, soulful phrasing. He still throws some super fast shreddy stuff in his solos on occasion though. He needs to grow out of that {censored}. Alternate picking excersises at warp speed do not = music. Link to comment Share on other sites More sharing options...
Members JR13 Posted September 13, 2012 Members Share Posted September 13, 2012 Link to comment Share on other sites More sharing options...
Members RustyTrombone Posted September 13, 2012 Members Share Posted September 13, 2012 Little Joe was Killing it! I much prefer Fenders by any player. They let a players True Identity shine through. Gibsons kind of make them all sound the same somehow. Its the Over doing of the crunchy distortion. I much prefered Gary Moore when he stepped back and played a strat as well. Yngwie and Eric Johnson both knew the secret of Fenders as well. Not putting down all Gibsons and players by any means. But you really have to be restrained when playing one. Tonewise. Link to comment Share on other sites More sharing options...
Members kulardenu Posted September 13, 2012 Members Share Posted September 13, 2012 This is thee very moment is where he peaked! I too hate the wankering of a bunch of meaningless notes but this was done with a melodic genius style that even I can overlook... [video=youtube;X3Z8zmyqb60]http://www.youtube.com/watch?v=X3Z8zmyqb60 Link to comment Share on other sites More sharing options...
Members jrockbridge Posted September 13, 2012 Members Share Posted September 13, 2012 This is thee very moment is where he peaked! I too hate the wankering of a bunch of meaningless notes but this was done with a melodic genius style that even I can overlook...http://www.youtube.com/watch?v=X3Z8zmyqb60 That was excellent. Joe really has come a long way since his teens. IMO he always had tone and chops. I like his tone on sc pups and humbuckers. Now, I think he has a much better sense of the spaces between the notes. I often hear the argument that technically skilled players have no 'soul' or some such nonsense. To me, if you can make the audience feel something, that IS soul. Joe might get a lot of criticism on guitar forums, but if you observe how the average non-musician reacts to his playing, he seems to move them. He connects with an audience in a big way and that's what really counts in the end. Link to comment Share on other sites More sharing options...
Members onelife Posted September 13, 2012 Members Share Posted September 13, 2012 I often hear the argument that technically skilled players have no 'soul' or some such nonsense. To me, if you can make the audience feel something, that IS soul. Joe might get a lot of criticism on guitar forums, but if you observe how the average non-musician reacts to his playing, he seems to move them. He connects with an audience in a big way and that's what really counts in the end. I agree. That is what it is all about and a certain level of technical ability is required for that to be able to happen. I think that as musicians are learning their trade, they admire the technical abilities of their mentors and they strive to achieve a similar skill level. All too often we get so focused on the skills that we sometimes forget that the technique is a means to an end and not the end in itself. Some times young players want to show off their newly acquired skills because they are still in that technical mindset. As players mature and feel comfortable with their skills the focus moves more to the music itself and the emotional impact it can have on the listener. We would not be able to convey that emotion if we could not play our instruments. Link to comment Share on other sites More sharing options...
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