Heya @LouisShach. These are buddies of mine going back to the 70s like before Mark and Jimmy won that spot on WHFS before they had formed the band, and I totally agree! Little Bobby and Tom Principato were up in that Blues stratosphere too and it's only fitting they often played together. They may not have gotten the renown that say SRV got, but they played all over thew planet and are still playing out in 2024. That's pretty huge in my book.

Thanks Louie! I LOVED Ritchie Valens growing up and even dug the Lou Diamond Phillips film, but I'd not heard him do "Boney" until now, because of your emphatic comment. We based ours on the Larry Williams version. Ritchie's has a slower groove and is cool fo sho. Thanks!

@@enorbet2 and who don't like Larry Williams? Dizzy Miss Lizzie, Bony Maronie, Short Fat Fanny, Bad Boy..

@@LouieCaporussoJr - I certainly think so but apparently it's only mostly old timer musicians like me. However everyone I send it to, regardless of age, seems to dig our version. Maybe you have friends with similar tastes you could share the link with? That'd be sweet!

@@enorbet2 my pops was into '50s music and doowop. I know alot from that time due to him. I dedicated my channel on YT to him.

Thanks wilddave100. We were a small town regional band West of the Rocky Mountains based in Colorado. This gig was in a tiny coal mining town called Paonia in the North Fork Valley. The nightclub/bar had been "Joe's Bar" (literally) when my brother and I built the stage for owner Joe Bergl. Years later it was bought out and in the 80s renamed "Cheers". I have no idea what name it is under now since sadly I had to move from that beautiful area in the early 80s. I'm editing more clips most days so if you like, check my channel from time to time..

Thank You! I'm the lead vocalist for most of the tunes for this, my old band, Fourplay (yeah I know, Lee Ritenour used that name for his Smooth Jazz band circa 1987 but we had it in 1979, documented in '84) . The first clips are mostly labelled as seeking help attempting to restore the Audio/Video sync based on pretty bad digitization that gets progressively further and further out of sync. They gave me fits for many months. Thankfully the forward thinking guy, Gary Cavalier, who did the dual camcorder recording is still alive, still active, and still has the original VHS tapes! He graciously sent me copies of this whole show, including The Nighthawks, and I'm having a great time now actually learning video editing and little by little getting them all up here on my channel. As soon as I figure out how to create new categories so I can keep the old "bad" ones separated from the new ones, I'll do that, too. Thanks again and hope you will like each new clip as I get them separated and mildly edited.

Thanks for commenting. You could be right since I don't even know what you mean by "alternat alter". Care to school me? Also, FWIW, while I can't speak the mind of the other players, but the closest I ever wanted to get to a cover, was a loose interpretation with at least some room for interpretation and individual voice. I mean if we sounded exactly like the record, why bother? Jukeboxes would be smarter, I think.. EDIT: I should have added that Rich Brooks is an excellent drummer so I agree and I should know since I led the band and in a 13 month period we gigged with 9 different drummers and auditioned dozens more. Rich was at the very least in the Top 4.

Thanks Barb, it was pretty decent for just a regional band, eh? Big changes coming! More soon.

This really isn't just a mod. I salvaged the amp from a dumpster where it had been tossed after a shed fire that ruined much of the original, but the cabinet mainly needed cleaning from smoke damage. The speaker was trashed as were both transformers and several capacitors. I have no certtainty as to why the electronic components were fried but I gutted it and totally rebuilt it with my own design. My design borrows concepts from several iconic amps, mainly Tweed Fender 4x10 Bassman (dual preamp and tone stack), Studio series Mesas, and Leslie 147 power amps. Essentially it has what Fender labeled "Normal" and "Bright" input stages on 4 input Tweed designs but they are permanently connected and as the "Bright" volume control advances it shifts from parallel action to series, providing a very wide range of controllable gain. It's not a direct clone of Studio Series Mesa designs, as they are switchable (easily converted to switchable in my design), but borrows just from that parallel/series concept. The tone stack is almost directly Tweed employing the all important Direct-Coupled Cathode-Follower, driven by the Volume control first, and the low impedance Tone Stack 2nd. The cathode-follower provides a low impedance buffered drive for an FX Loop and acts as a compressor-limiter when pushed hard. The power section is a highly modified version of the regulated Leslie 147 power design which is absolutely unique and cool. By protecting the power tube Plates from ever dropping below the Screen Grids, the window for "Sag" is substantially widened and can never drift into harsh and non-linear harmonic territory. This makes for a very pristine, articulate clean at lower volumes but with a very "soft knee" transition into breakup. Because it cannot possibly sag into "the danger zone" that window stays clear and sweet and has extended breadth, making for a very dynamic response to guitar and amp volume settings and finger nuances like pressure, bends and pick attack. Finally because the power section is Cathode Biased, it can use any power tubes with the same basic pinout such as 6L6/KT66, 6CA7/EL34/KT77, or 6550/KT88 with no bias adjustment required. It self adjusts via inherent current draw. This means the amp can be 20 watts, 30 watts or 40 watts based on power tube choice. It is possible to use 6V6s as well but with minor adjustments. They deliver roughly 15-17 watts depending on the degree of adjustment. This amp has a Celestion Type A 12 inch speaker but such a small cabinet for a 12 inch speaker does get less bass response than a larger cabinet can. However the reason the designer of the Leslie Power section used the regulated design was so that the vastly extended frequency of organs wouldn't cause the power section to "fart out". When used for guitar that becomes a very large part of why it never gets "farty" or muddy. It's always clear with each string or note of any chord being heard while never getting harsh even at extreme Bass Boost or Treble Boost. My apologies this response is so long but there is no other way to explain it is not a mod but a completely unique design.

Really? What were you expecting from a demo mainly about the use of plexiglass to control stage volume in differing venue sizes? Or is it just not a genre of Music you prefer?

@@enorbet2 Это не тот жанр музыки который я предпочитаю

@@user-es6ts5ep3c Спасибо за честный ответ

@@enorbet2 не знаю почему мне это показали в рекомендациях.Мне нравится тяжелый метал

@@user-es6ts5ep3c It's cool, Bruh. Algorithms get weird sometimes and taste in Art is subjective. No offense taken. :)

this music is very relaxing, thank you ❤❤❤

@@hardwarereviews6700 You're of course quite welcome! It's gratifying to get any response but especially one like yours. Thanks!

hello, how can I contact you, it's interesting to talk about music

@@hardwarereviews6700 You have my sincere apology for taking so long to get back to you. I'm in the process of trying to learn the art of mixing live video with stills to take this channel up a quantum leap. I'm hoping to get regular content up as a New Years Resolution. By then I should be able to develop a good way for deeper feedback and conversation. Thanks again!

Currently I've only uploaded 3 other tunes on my YT Channel and those, too, are from ancient cassette tape but they were very seriously flawed right from the jump in recording as it was totally spontaneous and unplanned and took a LOT of work to get even remotely presentable. That said, Little Bobby said the finished piece sounded better than many pro live recordings he'd heard, even one of his. Planning on more and better soon.

Thanks and you're right. I see the connections/similarities and I too hate bottle clinkers ;)

@@enorbet2 Warrrrriors... Come out to playay...

You're quite welcome and yes, it is obvious that you do indeed love The Blues since I can't figure out how you found this LOL. I didn't exactly make it easy!

+Radiant969 - Thank you! It was a heavily modified Blackface Princeton Reverb running 2 x EL34s in Class A through an EVM-12L but it actually got even better over the years. One improvement was a cast frame Celestiion no longer made but V30s sound similar. I just love an amp that goes smoothly from Clean to Overdive not only with gain settings (especially on the guitar volume control) but even with how hard strings are hit. Again, thanks!