My Bike

I thought it was about time I introduced you to my other passion, motorcycling. This bike is a 2000 Honda Shadow A.C.E. Tourer VT1100T that I bought new in November of 1999 from Shenandoah Honda in Winchester, Virginia. It is the second Honda motorcycle I've owned. My first Honda was a 1987 Shadow VT700C which I also bought new.

The Shadow Tourer model was manufactured at Honda's Marysville, Ohio plant from February 1997 and released as an early 1998 model, through January 2001. During this four year production run Honda produced approximately 6,164 Tourers. In my opinion and the opinion of a lot of other Tourer owners this was and still is one of the best middle weight bikes ever produced by any manufacturer. The Tourer is as much at home craving up twisty mountain roads as it is running highway speeds hour after hour after hour on interstate roadways. This bike is as close to perfect as any bike can get.

Here are the specs and features of the Tourer, per Honda:
· The Shadow Tourer engine uses an offset-dual-pin crankshaft for added power and smooth performance for all-day rides.
· Engine smoothness is further enhanced with a rubber cushion engine-mounting system.
· Specially designed free-flowing two-into-two exhaust system featuring right and left-side mufflers and long muffler-extenders.
· Large handlebar-mounted windscreen offers excellent weather protection.
· Large-capacity, 35-liter color-matched, locking hard saddlebags offer secure, weatherproof luggage space protected by chrome bars.
· Unique cast aluminum 11-spoke wheels feature strength and light weight.
· Wide, low-profile radial tires offer good wear characteristics, handling and comfort.
· Chrome front and rear fender-lower covers provide protection and great looks.
· Wide passenger seat gives good long-distance comfort.

Engine
· The Shadow's liquid-cooled, rubber-mounted 1099cc 45º V-twin engine pumps out massive low-end and mid-range power.
· The engine's broad power delivery and five-speed transmission offer exceptional rideability around town or on the open road.
· Three-valve cylinder head design utilizes two spark plugs per cylinder for efficient combustion and high power at all rpm.
· Maintenance-free hydraulic valve-lash adjusters make routine valve adjustments a thing of the past.
· Other maintenance-free features include solid-state digital ignition and automatic cam-chain tensioners.
· Dual 36mm CV carburetors offer crisp throttle response at all rpm.
· Reliable electric starting system.
· Extensive use of chrome finishing on engine parts, including crankcase covers, clutch cover and starter cover.
· Black-finished crankcases and cylinders with buffed fin edges complement chrome finishes.

Chassis/Suspension
· Specially designed steel frame gives the Shadow American Classic Edition Tourer a long, low custom stance.
· Massive, 41mm extended front fork provides 150mm of plush yet responsive travel.
· Dual chromed shocks feature an advanced internal valve system for a comfortable ride.
· Large-diameter front disc brake with twin-piston caliper combined with a rear disc brake provide excellent stopping power.
· Shaft final drive system provides smooth, low-maintenance operation.
· Relaxed, comfortable riding position results from a long, low chassis and low, 28.7-inch seat height.

Additional Features
· Comfortable riding position with low, wide handlebar, broad, deep rider's seat and removable passenger seat.
· Powerful halogen headlight.
· Convenient push-to-cancel turn-signal switch.
· Comfortably padded large-diameter handgrips.
· Polished aluminum handlebar switch housings and triple-clamp assembly.
· Large, 16.8 liter gas tank offers extended range and added custom styling.
· Transferable one-year unlimited-mileage limited warranty.

Specifications:

Engine - 1099cc liquid-cooled, 45-degree V-twin, dual off-set crankpin

Bore and Stroke - 87.5mm x 91.4mm

Compression Ratio - 8.0:1

Valve Train - SOHC; three valves per cylinder, self adjusting hydraulic

Carburetion - Twin, 36mm, diaphragm-type, CV

Transmission - Five-speed, wide ratio

Final Drive - Shaft

Front Suspension - 41mm fork; 150mm travel

Rear Suspension - Dual shocks with five-position spring preload adjustability; 95mm travel

Front Brakes - Single 316mm disc with twin-piston caliper

Rear Brakes - Single 276mm disc with single piston caliper

Front Tires - 130/80R-18 radial

Rear Tires - 170/70R-16 radial

Wheelbase - 1656mm (65.2 in.)

Seat Height - 730mm (28.7 in.)

Dry Weight - 285kg (626.0 lbs.)

Fuel Capacity - 16.8 liters (3.7 Imp. gal.)

If you want to learn more about the Tourer or talk to other "T" owners please stop by the Honda Shadow ACE Tourer Forum. The HSATF is a discussion forum I host for owners of the ACE Tourer. Click here to visit the group.

In the next entry about my "T" I'll talk about some mods I've done and accessories I've added to the bike.

Today's Quote

"Beautiful music is the art of the prophets that can calm the agitations of the soul; it is one of the most magnificent and delightful presents God has given us." ~Martin Luther

Today's Quote

"I have my own particular sorrows, loves, delights; and you have yours. But sorrow, gladness, yearning, hope, love, belong to all of us, in all times and in all places. Music is the only means whereby we feel these emotions in their universality." ~H. A. Overstreet

Today's Quote

"Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art." ~ Charlie "YardBird" Parker

Santana: Caravenserai (1972)

I became a fan of Santana with the release of their debut album Santana way back in 1969. Caravenserai was a bit of a change in direction from the three previous Santana albums which were more of a rock format. This album was the first among a series of Santana albums that were known for their increasing complexity and a move towards a more experimental jazz sound.

The original Santana band split up in 1972. Percussionist Mike Carabello and bassist Dave Brown were the first to go, and they were replaced on Caravenserai by James Mingo Lewis and Doug Rauch, respectively. Organist/singer Gregg Rolie and the recently-added guitarist Neal Schon played on Caravanserai but were soon to follow; according to the liner notes of the 2003 remaster, they had creative differences with Carlos Santana about the future direction of the band. Carlos Santana had recently taken an interest in John Coltrane and the electric music of Miles Davis. He wanted to pursue jazz-fusion, whereas some others in the band preferred to make music that was more traditionally rock-based.

Despite the conflicts within the band I think that Caravanserai is a really good album; in fact, I would say that Caravanserai is one of the only Santana albums that is strong just about all the way through. I can perfectly understand any skepticism on the part of those who know some of Santana's music but who haven't heard Caravanserai, but album's fusion really does sound fresh and alive. Perhaps that's because the group didn't veer too far off course and appears to have concentrated on developing and perfecting strands of their existing style instead of attempting to simply copy their influences. Not every track is great and the album does lose a bit of steam toward the end, but for the most part I remain very enthusiastic about Caravanserai and I think it definitely belongs in the collection of anybody who is into jazz fusion.

Many of the tracks on Caravanserai meld into each other, creating a sense of continuity and flow. The album, predictably, is mostly instrumental, but a few tracks do have vocals. Surprisingly these songs are among the best of their kind that Santana had yet recorded; true, "Stone Flower" is a cover of the Brazilian jazz standard, but it's a fantastic rendition. "All the Love in the Universe" is one of Carlos Santana's best originals, and "Just In Time To See The Sun" makes for a very solid two-minute intro to "Song of the Wind," an excellent instrumental which features some divine lead guitar playing by Santana. As for the other highlights, "Waves Within" also has some really good lead guitar and on "Look Up (To See What's Coming Down)" the band explodes into a hard funky groove that is totally irresistible.

One key to the album's success (and probably a result of the splitting of the original band) is that the focus here is on Carlos Santana. He is the only real soloist on the album, as Greg Rolie and the rest of the band are there mostly to provide atmosphere and rhythms. While this may result in music that is somewhat less complex than the work of other jazz fusion ensembles, it does not detract at all from its impact.

Track Listings:

1. Eternal Caravan Of Reincarnation - 4:31

2. Waves Within - 3:54

3. Look up (To See What's Coming Down) - 2:57

4. Just In Time To See The Sun - 2:13

5. Song Of The Wind - 6:08

6. All The Love Of The Universe - 7:39

7. Future Primitive - 4:13

8. Stone Flower - 6:13

9. La Fuente Del Ritmo - 4:34

10. Every Step Of The Way - 9:02

Personal:

Carlos Santana - Vocals, Guitar, Percussion

Neal Schon - Guitar

Lenny White - Castanets

Gregg Rolie - Piano, Organ

Armando Peraza - Bongos, Percussion

Tom Coster - Piano

Rico Reyes - Vocals

Hadley Caliman - Saxophone

Mike Shrieve - Drums

Doug Ranch - Guitar, Bass

Tom Rutley - Acoustic Bass

James Mingo Lewis: Vocals, Piano, Bongos, Congas, Percussion

Producer(s):

Carlos Santana, Michaei Shrieve

Album description in italic courtesy Ground and Sky.

Today's Quote

"Hearing is everything...being able to imagine something and playing it is critical" ~Marcus Miller

Five Peace Band Review

Looking to the Present While Peeking at the Past

From left, Chick Corea, John McLaughlin, Christian McBride, Kenny Garrett and Brian Blade.
Photo Nicholas Roberts for The New York Times

By NATE CHINEN

Published: April 24, 2009

The Five Peace Band, a jazz-rock juggernaut, presents a parody of abundance. Led by the guitarist John McLaughlin and the keyboardist Chick Corea — both restless virtuosos, and legends at 67 — the group works hard and fast, with heroic stamina and superhuman technique. Its overall effect can be exhilarating and exhausting. On Thursday, in its first of several sold-out nights at the Rose Theater, a three-hour concert became a tempest, extravagant in almost every sense.

But it wasn’t as if the crowd came unprepared. Mr. McLaughlin and Mr. Corea initiated their partnership last year, touring widely and generating a glut of bootleg videos online. More to the point, the Five Peace Band can’t help recalling a pair of fusion flagships from the 1970s: the Mahavishnu Orchestra, led by Mr. McLaughlin, and Return to Forever, led by Mr. Corea. And as Mr. McLaughlin acknowledged near the top of the show, it has been 40 years since he and Mr. Corea worked on the Miles Davis album “In a Silent Way,” a calmer touchstone of the jazz-rock era.

Here they made some effort to turn the page, opting not to play “In a Silent Way” or its companion piece, “It’s About That Time.” Yet there was a ’70s-era notion of valor coded into much of their playing. Mr. McLaughlin’s solos were marvels of velocity and precision, and though he introduced the occasional quirk — say, a pitch slightly bent with his guitar’s tremolo arm — the outcome always felt resolute.

Mr. Corea, using two synthesizers along with a grand piano, was more exploratory, but his outpourings often came fully formed. Both musicians released their notes in a dazzling profusion.

Crucially, their band mates hail from a different corner of jazz’s space-time continuum. The alto saxophonist Kenny Garrett, another Davis alumnus, is 48; the bassist Christian McBride and the drummer Brian Blade are in their 30s. Age probably isn’t the determining factor, but these players (Mr. Blade in particular) imparted flow to the concert, and some much-needed elasticity. Their presence made it possible for the band to evade its historical precedents, and disarm some entrenched jazz-world divisions. (It was not insignificant that the group appeared courtesy of Jazz at Lincoln Center.)

The first half began the same way as “Five Peace Band Live” (Concord), which is due out on Tuesday. After “Raju,” a hyperkinetic workout by Mr. McLaughlin, the band moved on to “The Disguise,” a faintly Latin tune by Mr. Corea. Then came Mr. McLaughlin’s “New Blues, Old Bruise,” with floating accents that suggested a balloon pulled by the string: a slippery challenge, and no time for reflexive facility.

The second half was less focused but more satisfying, because of its variation. Mr. Corea’s “Hymn to Andromeda” took the form of a suite, beginning and ending in hazy abstraction. Mr. McLaughlin’s solo, over a ballad section, included pockets of space, but Mr. Garrett, taking over on a fusionlike stretch, went the other way: with Mr. Blade flailing behind him, he strained toward the outer limits.

It was the second astonishment of the set from Mr. Garrett, who had demolished “Señor C.S.,” a speed-freak samba by Mr. McLaughlin. His solo had everything — pacing, development, momentum, surprise — and it spurred the band to furious action. It was all a bit much, but in this case, that was just enough.

Today's Quote

"I may not believe in myself, but I believe in what I'm doing" ~Jimmy Page

Today's Quote

"Music is the wine that fills the cup of silence" ~Robert Fripp

G&L CLF Centennial L-2000

In celebration of what would have been our founder Leo Fender’s 100th birthday, the people of G&L Musical Instruments, in collaboration with Phyllis Fender, have created a guitar and bass to honor Leo by incorporating certain elements of Leo Fender’s early G&L designs with a modern, heartfelt approach.



The C.L.F. Centennial L-2000 begins with a comfortable quarter-sawn slim “C” shape neck profile based on the G&L #8, a popular custom option on L-2000s for more than two decades, for its fast, easy playability. The body features the sleek and comfortable silhouette of the contemporary L-2000, while bringing back the body-hugging slim depth of the early versions. The electronics of the Centennial L-2000 also bridge the decades between Leo’s first production bass to feature active pre-amplification and today’s L-2000. The heart of every L-2000 has always been the MFD (Magnetic Field Design) humbucking pickups, and those in the Centennial L-2000 are carefully hand-wound by long-time employee Maria Isela Ramos in the early G&L tradition, using NOS 42 gauge plain enamel wire. While these pickups recall those of Leo’s time, they are mated to a contemporary L-2000 preamp circuit for lower noise.

An authentic black wrinkle powder-coated bridge plate embraces the vintage G&L aesthetic, as does the matching finish on a 6061/T6 cold-rolled aluminum control cavity cover. Though rarely fitted to L-2000s of the Leo’s time, NOS black matte finish G&L/Schaller tuning machines grace the Centennial L-2000 for a more unified appearance. These thoughtful details are brought together with contemporary G&L features, including a non-compression truss rod and the unparalleled playability of PLEK fret dressing, demonstrating the measure of G&L’s progress and standing as testament to the enduring appeal of Leo’s final designs and his company on Fender Avenue that continues to produce them today.

The C.L.F. Centennial L-2000 wouldn’t be complete without a tribute from Phyllis Fender. Leo and Me (My Eleven Years With The Guitar Man) is an autographed memorial album sharing over fifty pages of full-color photos from the Fender’s personal photo albums, each selected, arranged, captioned by Phyllis herself. Leo and Me reflects the warmth, honesty and good humor that characterized the Fenders’ relationship, as well as reveals a side of Leo that the public has never known – until now...

C.L.F Centennial L-2000 build info:

January 2009 - 50 piece production run announced
June 2009 (est.) - deliveries to begin
CLF L-2000 Headstock

Specifications:
BODY WOOD: 2-piece solid Swamp Ash
BODY FINISH: Sentimental Blonde (custom Pearl White Blonde)
NECK WOOD: Quartersawn Hard Rock Maple
NECK FINISH: Clear Gloss
NECK WIDTH: 1 1/2” Width at Nut
NECK RADIUS: 12"
NECK SHAPE: G&L Modern Narrow "C"
NECK DEPTH: 0.820" at 1st fret to 0.920" at 12th fret (+/- 0.015")
FRETWIRE: Medium Jumbo 6100
TUNERS: N.O.S. black anodized G&L "Ultra-Lite" with aluminum tapered string posts
PICKUPS: 2 G&L MFD humbucking pickups, hand-wound to late '80s spec with N.O.S. 42 gauge plain enamel wire
CONTROLS: G&L Tri-Tone active/passive electronics, 3-way mini-toggle pickup selector, series/parallel mini-toggle, preamp control mini-toggle (off/on/on with high end EQ boost)
KNOBS: black anodized knurled aluminum
CONTROL COVER: black wrinkle powder-coated 6061/T6 cold-rolled aluminum
BRIDGE: G&L Saddle-Lock, wrinkle powder-coated
CASE: G&G Black Tolex with Black Plush lining featuring embroidered Custom Creations

DOCUMENTATION AND ACCESSORIES:
* Custom Creations Silver Certificate of Authenticity
* Leo and Me (My Eleven Years With The Guitar Man) autographed memorial album
* G&L The Art of Fine Instrument Making Factory Tour DVD
* 14 ft. G&L Custom Creations/Spectraflex Platinum braided cable
* G&L Custom Creations Polish Cloth
* One spare set of D’Addario XL170SL strings (.045-.105)

Vintage 1974 ~FENDER ~ JAZZ BASS GUITAR

I came across this bass while surfing ebay. This is one sweet guitar. I almost bought a red '76 Jazz years ago but let it slip away and ended up buying my beloved '77 Rickenbacker. If you're interested you can read about this bass at by clicking here. As of this posting, time left for this bass is 6 days 6 hours.

BTW, I am not affiliated with this guitar or it's seller.

Columbine High School Anniversary

Today's the 10th anniversary of the Columbine High School shootings in Littleton, Colorado. It really doesn't seem that long ago. I remember quite clearly watching it all unfold on TV. I have worked for a school system for the last 30 years and this tragedy hit very close to home. If anything good at all came out of the horrific event was the greater emphasis placed on school security and intervention across the nation. I know this event brought a clear awareness of our local security deficiencies. Including the issues of subcultures, cliques, and bullying in our system.

On this anniversary and always, my thoughts and prayers are with the families that lost so much.

The Moody Blues: Time Traveller Boxset (1994)

I have been a fan of the Moody Blues since "Days Of Future Passed" and have most of their albums on either vinyl or CD so most if not all the songs in this boxset I had heard many times before. With that being said, I picked this boxset up anyway just to add to my music library. For anyone who would like to dive into what the Moody Blues are, this four disc collection is the right place to start. The Moody Blues are a so much more than just "Nights In White Satin" and "I'm A Singer (In A Rock And Roll Band)".

Beginning with the single "Fly Me High" (released just prior to DAYS OF FUTURE PASSED) and concluding with "Highway" (an outtake from The Moody Blues' 1991 KEYS OF THE KINGDOM), TIME TRAVELLER documents the recorded output of The Moody Blues. Included in the 4-CD set is a 48-page booklet containing essays, detailed credits and photos.

This four-disc set effectively chronicles the long, varied career of the Moody Blues. The history of the Moody Blues as most fans know them began with the arrival of Justin Hayward and the release of DAYS OF FUTURE PASSED. This pioneering effort was one of the first progressive rock albums. A concept piece featuring a suite of songs linked together both musically and thematically, it also broke ground in its adept marriage of rock group and orchestra. The orchestral sound was expanded even further by Mike Pinder's use of Mellotron. This album, well-represented here, not only set the Moodies on a path they would follow for years, but also proved enormously influential to subsequent prog-rockers like King Crimson and Yes.

As the band progressed, their sound expanded to include pop, psychedelia, folk, and hard rock. The key element of their sound, though, remained the orchestrated ballad. The band's '80s comeback--a phase successfully chronicled here--found former Yes member Patrick Moraz replacing Pinder, and the band stripping down its sound for a more radio-friendly, synth-laden sound. Aside from the mid-'60s Denny Laine period, all the band's phases are covered here, and a handsome, detailed booklet is included in the bargain.

Time Traveller CD DISC 1:
1. Fly Me High
2. Love and Beauty
3. Cities
4. Tuesday Afternoon (Forever Afternoon)
5. Nights in White Satin
6. Ride My Seesaw
7. Legend of a Mind
8. House of Four Doors
9. Voices in the Sky
10. Best Way to Travel, The
11. Actor, The
12. In the Beginning
13. Lovely to See You
14. Dear Diary
15. Never Comes the Day
16. Are You Sitting Comfortably
17. Dream, The
18. Have You Heard Part 1
19. Voyage, The
20. Have You Heard Part Two

Time Traveller Songs DISC 2:
1. Higher and Higher
2. Gypsy (Of a Strange and Distant Time)
3. Eyes of a Child
4. I Never Thought I'd Live to Be a Hundred
5. Beyond
6. Out and In
7. Candle of Life
8. Never Thought I'd Live to Be a Million
9. Watching and Waiting
10. Question
11. Don't You Feel Small
12. It's up to You
13. Minstrel's Song
14. Dawning Is the Day
15. Melancholy Man
16. Procession
17. Story in Your Eyes, The
18. One More Time to Live
19. You Can Never Go Home
20. My Song

Time Traveller Album DISC 3:
1. Lost in a Lost World
2. New Horizons
3. For My Lady
4. Isn't Life Strange
5. You and Me
6. I'm Just a Singer (In a Rock and Roll Band)
7. This Morning
8. Remember Me, My Friend
9. My Brother
10. Saved by the Music
11. I Dreamed Last Night
12. When You Wake Up
13. Blue Guitar
14. Steppin' in a Slide Zone
15. Driftwood
16. Day We Meet Again, The

Time Traveller CD DISC 4:
1. Forever Autumn
2. Voice, The
3. Talking Out of Turn
4. Gemini Dream
5. Blue World
6. Sitting at the Wheel
7. Running Water
8. Your Wildest Dreams
9. Other Side of Life, The
10. I Know You're Out There Somewhere
11. No More Lies
12. Say It With Love
13. Bless the Wings (That Bring You Back)
14. Lean on Me (Tonight)
15. Highway - (previously unreleased)

Personal:
Justin Hayward (Guitar, Vocals)
John Lodge (Bass, Vocals)
Graeme Edge (Drums)
Ray Thomas (Flute, Vocals)
Michael Pinder (Keyboards)
Patrick Moraz (Keyboards)
Denny Laine (Guitar, Bass, Vocals)
Clint Warwick (Bass)

Album description in italic courtesy cduniverse.com.

U2: October (1981)

U2's second effort has always been one of my favorite albums.

Though it's probably one of their least-acclaimed albums, OCTOBER is where it all began to come together for U2. The youthful exuberance they demonstrated on BOY was now a given, but for this, their second album, the conceptual end of things ... Full Description began to coalesce as well. The Edge had begun to expand his sonic palette, and the effects-heavy guitar approach that he would rely on for the next several years came to full fruition here. There's further development of the bold, anthemic approach that would come to characterize the band's arrangements, and the songwriting is just plain better. Most affecting, and indicative of the group's progress is the emotional epic "Gloria;" full of resounding major chords and throbbing rhythms, it's simultaneously an open admission of self-doubt and a call to arms to embrace life's uncertainties. This contrast is what makes OCTOBER, along with much of U2's early work, so effective.

Recorded at Windmill Lane, Dublin, Ireland in July and August 1981. Originally released on Island Records (90092).

Track Listing:
1. Gloria
2. I Fall Down
3. I Threw a Brick Through a Window
4. Rejoice
5. Fire
6. Tomorrow
7. October
8. With a Shout
9. Stranger in a Strange Land
10. Scarlet
11. Is That All?

Personal:
Bono (vocals)
The Edge (guitar, piano)
Adam Clayton (bass)
Larry Mullen, Jr. (drums)

Album description in italic courtesy cduniverse.com.

Sounds Like A Good Read

From Ultimate-Guitar.Com

Reviewed by: Mike Pelosi, on March 25, 2009

Richness of Content: "Off the Rails" is a masterpiece by rock and metal bassist Rudy Sarzo. The book is prefaced as a tribute to Randy Rhoads but it is more. Much more. Sarzo speaks scarcely about his own personal feelings leaving all factual imagery and nothing to the imagination but a hunger for more that is the world of Ozzy and company. Inspirational dialogue between Randy and himself, comical memoirs, and the captured essence of Osbourne antics make this book a true hard rock's fan dream. Randy's memory lives on not only through music but through these pages as well.

Style: As previously mentioned the writing style leaves little to the imagination. The reader gets a deep look into what life was like touring with Ozzy during some of his darkest times. Rudy does not delay the inevitable nor does he try to sugar coat some of occurrences. When Randy's death is addressed, he takes the same approach making it almost too real. Rudy shows unbiased towards all sides making it clear that this book is for the memory of his friend and possible one of the greatest guitarists of all times: Randy Rhoads.

It should be noted that Rudy Sarzo wrote this book without aid from an additional author like so many of his heavy metal counterparts have chosen to do. For me this adds a genuine and pure feeling but others may find it lacking and potentially dry. However, this is one of best sources of information around to find out about Randy, Ozzy, and their relationship. For anyone Who is a musician I suggest picking this up ASAP. You will see (if you have not already) why Randy is one of the best musical models to base your playing around. Rudy makes him out to be "the musician's musician" which many have corroborated he was.

The writing style is the piecrust but the content is the award-winning filling. Most people eat the pie for the filling!

Impression: This book had my heart from the get go simply because I am a fan of hard rock and heavy metal. But to see a story unfold with Randy being the musical superhero, die a musical superhero, and have his legacy become bigger then he could of ever imagined is worth every penny. With literature, you always want to become enriched and not feel like you wasted time on another boring chapter. I am sure if Rudy wanted to he could of made this five hundred pages long but he did not. Their was not much to Randy's personality (or so it seems) but what was their was enough to inspire countless musicians even twenty-seven years after his death.

It is difficult to think that any fan or historian of hard rock would find any dissatisfaction with the book especially when taking into account Rudy's reasoning behind writing a certain way. Sure, it could have been longer and perhaps in the future Rudy will author more about his relationship with Randy. Nevertheless, I think I got the point. That point is plug my guitar into my Marshall, practice my scales and chords, and step aboard the Crazy Train.

I've never been too excited about tell all band/artist books but after reading the above review, this book may not fall into that category (hopefully). I think I'm going to give this one a read.

If you're interested, Off The Rails can be purchased directly from Rudy Sarzo's website for $16.95 plus shipping. An autographed copy can be had for $23.95 plus shipping. Click here to visit Sarzo's site.

Kansas: Masque (1975)

I bought this album about six months after it's 1975 release. It was my first Kansas album. A friend of mine suggested picking it up and giving it a listen, which I was a bit hesitant. There had been times prior to this that he had suggested artists for me to give a listen to that just wasn't for me. Well I took a chance and bought the LP and was very pleasantly surprised and after all these years this album remains one of my favorite Kansas recordings.

Masque is Kansas third release and has the reputation as being the band's darkest album. Some songs do have a bit of darkness but no more than some of their previous songs. Kansas debut 1974 release touched on drug use in "Bring It Back" and the destruction of nature in "Death of Mother Nature Suite".

All the music on this album are very good examples of classic Kansas but a few are real standouts. The best of these in my opinion are "Icarus - Borne On The Wings Of Steel", "All Over The World" and "The Pinnacle". If you are a fan of later Kansas releases, Leftoverture (1976) or Point Of Know Return (1977) and haven't paid much attention to their earlier works give this album a listen. I believe you'll be like me and be pleasantly surprised.

Track Listings

1. It Takes A Woman's Love (To Make A Man) (3:09)
2. Two Cents Worth (3:10)
3. Icarus - Borne On The Wings Of Steel (6:07)
4. All Over The World (7:13)
5. Child Of Innocence (4:38)
6. It's You (2:35)
7. Mysteries And Mayhem (4:20)
8. The Pinnacle (9:35)

Personel

Steve Walsh (vocals, piano, organ, Clavinet, Moog synthesizer, congas)
Robby Steinhardt (vocals, violin)
Kerry Livgren (acoustic & electric guitars, piano, Clavinet, ARP & Moog synthesizers)
Rich Williams (guitar)
Dave Hope (bass)
Phil Ehart (drums, percussion)
Additional personnel: Lon Price (saxophone)
Producer: Jeff Glixman
Recorded at Studio In The Country, Bogalusa, Louisiana

Jeff Beck DVD

Jeff Beck performing this week... Live at Ronnie Scott's Jazz Club
I can't wait to get my hands on this disc. Jeff Beck has been one of my all time favorite guitarist all the way back to his Yardbirds days. Here's a sampling from the DVD.



If you don't recognize and bassist in the clip, her name is Tal Wilkenfeld. Tal is an amazing young bassist from Sydney, Australia. In her short career she has performed with some of the top artists in Rock and Jazz. Tal has played bass with Eric Clapton, Chick Corea, Herbie Hancock and Wayne Shorter just to name a few. She was also voted as The Years Most Exciting New Player in Bass Players 2008 Readers Choice Awards.

Kustom Deep End

Kustom unveils Deep End hybrid tube bass line

New Deep End bass amps from Kustom combine classic, punchy tube amp tones and touch with the robust power and articulation of solid-state power amp designs. Utilizing a 12AX7 preamp in tandem with a Tube Gain control, players can drive the tube preamp to elicit natural tube overload in varying degrees. From funky clean to mean and aggressive, the Deep End tube preamp has it covered.

Deep End
The DE50


New Deep End amplifiers are available in 50-watt, 100-watt and 200-watt combo models, plus a 300-watt head and four speaker cabinet configurations. Deep End solid-state power amps deliver defined, articulate power. And when they're cranked up, Kustom's exclusive Organic Clipping power amp circuit lets the Deep End react like an all-tube amp, generating lower order, musical harmonics and natural clipping characteristics just like the best all-tube designs. It's the classic power amp "growl" that bass players know and love, with a smooth transition from clean to grind.

In addition to classic, passive tone controls consisting of Bass, Middle and Treble, Deep End amps feature an innovative new approach to solving EQ issues quickly and effectively. Called "Room EQ," this new circuit consists of Low and High Contour controls, each solving the most common tonal problems that bassists encounter when performing.

Deep End
The DE100


For example, the High Contour control can reduce ear-fatiguing treble peaks that often occur when a room or venue has hard reflections. Alternately, it can be used to reduce treble presence or "sizzle" when required. Low Contour can be used to provide low-end definition in a large, boomy room. Alternately, it can function as a shelving control when pronounced low-end cuts are required. Using both Room EQ controls, players can effectively dial in the EQ structure that works most effectively in any given performance environment.

To make life easier both on stage and in the studio, the DE200 combos and DE300HD head offer a balanced Direct Out with Speaker Emulation. This output was painstakingly engineered to sound like a Deep End amplifier as heard by a bassist standing in front of the amp, capturing the unique tonality of the amplifier/speaker combination. This signal can be used for live applications and in the recording studio.

For more information, please visit www.kustom.com

This is a Press Release

Rees F-Light Bass

The new Rees F-Light bass guitar is being made in Cambridge, England. It has been designed as a full-size performing musician's instrument that is very light, of relatively small overall size, and comfortable to play when standing or sitting. The exceptionally long upper horn for the strap, and the zero overhang of the lower bout beyond the bridge, brings the whole neck closer to the player's body. This makes the bass feel less long, and easier to play. It is much appreciated by women, and men with shorter arms, but is also more comfortable for anybody. The F-Light weighs only 6 lbs, compared to a traditional bass guitar of 10 lbs.



The pickup and controls are a simple effective popular classic choice with a modern twist. The Seymour Duncan Quarter-Pound P-Bass pickup has particularly large pole pieces which provide an wider magnetic field which fattens the tone and adds a bit of extra punch. Vintage replica P-Bass pickup is an option. The controls are simply a volume knob and a very wide-range tone knob. The resonant korina body, and thin lacquer finish, makes the tone of the instrument very responsive to playing technique.

The bass which fits inside quite small gig bags, is easy to carry on and off aeroplanes and store in the overhead locker.
Specifications:

- 4 string, long 34 inch scale, bass guitar.
- Ultra-lightweight - just under 3 kg, about 6 lbs.
- Small overall length and easy to play - the long upper horn brings the headstock closer to the musician.
- Seymour Duncan Quarter Pound P-Bass pickup for punchy full tone of vintage pedigree.
- Highly portable - a travel bass guitar for gigs.
- Korina hardwood body for fine tone and long sustain.
- Choice of wood colours, sunbursts, and fretboard woods.

For more information, please visit www.rees-electric-guitars.com

This is a Press Release

Marquee Capricorn Bass

Axl unveils the new Marquee Capricorn Bass

The original design of the Capricorn bass combines classic elements with modern appointments to appeal to players who appreciate vintage style but want a bass that sets them apart from the rest.

The Marquee Capricorn Bass (AJ-800) has an offset Alder body, a maple neck and a rosewood fretboard. The industry-standard 34" scale length helps insure excellent tone and intonation. The two single-coil EMG-designed Alnico pickups provide round low end with midrange punch. Independent volume controls for each pickup allow players to dial in a range of tones from warm and fat to crisp and aggressive.



The unique 2-piece pickguard is reminiscent of classic designs, but adds a subtle modern edge, and the vintage-style bridge and elephant ear tuners complete the classic vibe. The Capricorn Bass is available in classic black, Olympic white, Lake Placid blue, electric red, sunburst and natural (with maple fretboard).

The Marquee Capricorn Bass is perfect for players who are looking for a great sounding, comfortable bass that is the perfect combination of classic style and contemporary design. The Capricorn bass has a list price of $279.99, and will be available in time for Summer 2009.

The Marquee Capricorn Bass is the newest addition to the popular AXL Marquee Series. AXL Guitars is also the builder of Badwater Series guitars and basses, the AXL Wavepoint and the AXL Jacknife.

For more information, please visit www.axlguitars.com

Alan White with Chris Squire at Benefit Show

Alan White will be performing the music of John Lennon with an all-star band at a show to benefit the Susan G. Komen for the Cure Puget Sound Affiliate. Chris Squire is slated to perform in the band. The event will be held on April 18 at the new Snoqualmie Casino Ballroom in Snoqualmie, Washington.

Trevor Rabin has confirmed that he will be participating in this benefit. This marks the first time that Alan, Chris, and Trevor have played together since the Prince's Trust concert in 2004.

Visit the Snoqualmie Casino site for more information, and click here to purchase tickets at Ticketmaster.

Live Shows

While cleaning out an old filing cabinet in my home office I came across a group of old ticket stubs from concerts I've attended over the years. So let's take a trip down memory lane and see how many shows I can remember.

Alice Cooper - Baltimore Civic Center, Baltimore MD
Boston - Capital Centre, Landover, MD
Aerosmith - Capital Centre, Landover, MD
Slade - Capital Centre, Landover, MD
Kansas - Capital Centre, Landover, MD
Bad Company - Capital Centre, Landover, MD
Queen - Cole Field House University Of Maryland, College Park MD
Blue Oyster Cult - Capital Centre, Landover, MD
Black Sabbath - Capital Centre, Landover, MD
Jethro Tull - Baltimore Arena, Baltimore, MD
W.A.S.P. - Baltimore, MD
Ted Nugent - Merriweather Post Pavilion, Columbia, MD
Lynyrd Skynyrd - Merriweather Post Pavilion, Columbia, MD
Rick Derringer - Martinsburg, WV
Mediaeval Baebes - MD Renaissance Festival Crownsville, MD
L.A. Guns - Baltimore, MD
Thin Lizzy - Capital Centre, Landover, MD
Uriah Heep - Capital Centre, Landover, MD
REO Speedwagon - Capital Centre, Landover, MD
Mahogany Rush - Martinsburg, WV
Atlanta Rhythm Section - Capital Centre, Landover, MD
Foghat - Capital Centre, Landover, MD
Nazaerth - Capital Centre, Landover, MD
The Sweet - Capital Centre, Landover, MD

There are more artists but right now my old memory is failing me a bit. So stay tuned. To be continued.

King's X

I became a fan of King's X with the release of their debut 1988 album Out of the Silent Planet and have followed their career since.

For those who may not be familiar with the band or their music here's a little bit of background.

King's X is an American (Springfield, Missouri) rock band known for their sophisticated sound that combines progressive metal, grunge, funk and soul. The core of the band, Doug Pinnick on bass, Jerry Gaskill on drums and Ty Tabor on guitar, began playing clubs around Springfield, MO in the early 80's performing under the name The Edge. After going through a couple different rhythm guitar players, it was decided to continue as a trio and to change the band's name to Sneak Preview.

Sneak Preview independently released a self titled album in 1983. Only about 1,000 copies were pressed. It's been rumored that the band was so unhappy with this first effort that they destroyed about half of the LP's themselves. I have search used record stores for years and have had no luck locating a copy of this very, very rare album.

In 1985 the band moved to Houston Texas and caught the attention of Sam Taylor, then vice president of ZZ Top's production company. It was Taylor who convinced them to change their name to King's X and helped the group secure a contract with Megaforce Records in 1987.

1988 saw the release of King's X debut album. Although hailed by music critics, the album didn't do very well commercially topping out at #144 on the Billboard album charts. Neither single from the album Out of the Silent Planet, "King" or "Shot Of Love" charted very well either.

King's X second album Gretchen Goes To Nebraska released in 1989 fared only slightly better from a commercial standpoint than Out of the Silent Planet but many fans, including myself, consider this to be the beginning of their most creative period.

Throughout the 90's King's X began developing a larger and larger following due in part to touring with AC/DC, Living Colour and the release of Dogman (1994) on Atlantic Records. Dogman showcased a more muscular and heavy sound for the band. King's X enjoyed a very successful tour promoting the album and playing Woodstock '94 in August of that year.

In 1998 the band signed with Metal Blade Records and released five albums through 2004. From 2005 to the present King's X has been signed to InsideOut Music and have released two studio albums, Ogre Tones in 2005 and XV in 2008. Both albums were produced by Michael Wagener who has produced and or mixed albums for Alice Cooper, Ozzy, Great White, Metallica, Janet Jackson, Megadeth and Motley Crue to name a few.

On January 22, 2009 their concert at the Electric Ballroom in Camden, London was filmed and is to be released as a live DVD.

Here's a sampling of King's X from the 2008 XV album. The song is titled "Pray" Take note of the bass Doug Pinnick is playing, it's a custom 12 string Yamaha. You can get a closer look at the bass at 12StringBass.net.

North Carolina Championship

Congratulations North Carolina on your 5th NCAA Championship. Final score North Carolina 89, Michigan State 72.

There's always next year WVU. Go 'eers!

Mott The Hoople 40th Anniversary Reunion Shows

From Mottthehoople.com:

Mott The Hoople

Reunion Extended to Five Nights!

Mott The Hoople announce the final dates of their HMV Hammersmith Apollo residency. The original nights two nights (2nd & 3rd October) sold out in a weekend, and the first additional night (1st October) has now also sold out. So due to high levels of public demand, Mott The Hoople have added two final shows at the Apollo on the 5th and 6th October.

See the Tickets page for ticket information.

Reunion Extended to Five Nights!

HMV Hammersmith Odeon, London UK
1, 2, 3, 5 & 6 October 2009

Mott The Hoople announce the final dates of their HMV Hammersmith Apollo residency. The original nights two nights (2nd & 3rd October) sold out in a weekend, and the first additional night (1st October) has now also sold out. So due to high levels of public demand, Mott The Hoople have added two final shows at the Apollo on the 5th and 6th October.

The return of one of the best loved Rock & Roll bands of all time, it has been 40 years since the highly influential Mott The Hoople formed in 1969. Mott The Hoople return to The Hammersmith Apollo – scene of near riots following their shows in ’73 and recorded for the legendary Mott The Hoople Live album. This will be the first time the original line-up has played together for over 35 years.

It is fitting that the 2009 shows are at Hammersmith Apollo – this is where one side of the famous Mott The Hoople Live album was recorded in 1973 and was the venue they had to play twice in one day to satisfy ticket demand, the second show ending in near riot when the curtain came down on their final encore.

Who knows what will happen this time but these are sure to be historic gigs. Thanks to name-checks from Rock & Roll stars over the last 40 years and regular plays on radio, TV and film (All The Young Dudes is the lead song on the Juno soundtrack and features in many more), Mott The Hoople’s audience is getting younger. Whatever age, expect an audience which has an unshakeable belief in Rock & Roll.

* Find out how to get Tickets to the reunion shows

* Read the Latest News about Mott The Hoople


It doesn't look like I'll make it to London to see any of these shows. I sure hope this series of concerts are captured on video so the Hoople fans around the world can witness this reunion.

Whitesnake 2009 USA Tour Dates

I just finished listing Whitesnake's 2009 US tour dates at Fret World. If you get the opportunity to see this band live don't pass it up. You will not be disappointed. Even after 30 years of rockin' these guys are performing at the top of their game. David Cloverdale's voice just seems to get better with age. Give a listen to "Lay Down Your Love" and judge for yourself.