10/28/13

giving a little ....does STOPs a lot of PAIN....






Several months back, I visited the Camarillo Animal Shelter and spoke to Barry Fisher, the Chief Deputy Director of Ventura County Healthcare Agency. He gave me a tour of the facility. I was impressed with the genuine love for animals that the staff was showing.  Barry told me that the Camarillo Animal Shelter is a shelter that euthanizes for space and he desperately wants to be a “no-kill” shelter.  But the problem is that they adopt out 20 animals on the weekend, and pick up 30 animals during the week. It just doesn’t stop.
He told me that many people don’t spay and neuter their pets, so puppies and kittens just keep multiplying. There are many dogs and cats that roam the streets and keep reproducing. Unless people spay and neuter their pets, the problem is never going to stop.
I promised Barry that I was going to come up with a program that would not only help the problem in his area, but all around the country. That’s why the “Lucy Pet Foundation” was started.

-Joey Herrick
 Founder, Lucy Pet Foundation









http://lucypetfoundation.org/index.php/ct-menu-item-5

lou gone

oooooooooooooh ....oooooooooooohhhh....i'm tired.


the howling

































get a dog and change your life... for the better

10/27/13

silly spinning...and borrowed





it is just so perfect for this song....
http://bugnoise.tumblr.com
thanks sam

we have been here before....




http://waveslide.blogspot.com/2013/10/pt-bi-fin.html

..."if you learn to play an instrument, you will always have a friend"....(Ronnie Lane)





go here to see Ronnie Lane Documentary
http://transafixion.com/2013/10/27/its-ronnie-lane-faces-and-so-much-more/

 the much admired heart and soul of the famous rock bands ....Small Faces/Faces/ and his very own stuff.

10/25/13

10/24/13

Tony Joe White and Charlie Greene's upcoming concert at The Mint in Los Angeles on 26 October 2013




After more than fifty years of playing music, handfuls of chart topping singles, and collaborations with some of the most revered musicians of the century, Tony Joe White “The Swamp Fox” is set to release a brand new album, Hoodoo,  Sept. 17.
White was born in Oak Grove, Louisiana in 1943 and was raised on a cotton farm that was owned by his father. After he finished schooling, following a stint driving a truck in Georgia, he formed a series of bands and took to the road. A trip to Nashville in 1966 was marked by one lucky break after another, and his fruitful recording career began at the fabled country-soul crucible of Monument Records.
Gems like “Polk Salad Annie” and “Rainy Night in Georgia” were just the beginning, as he proceeded to write, record, and perform regularly through the present day, finding great success both at home and abroad. Through the years, his songs have been recorded by everyone from Tina Turner to Elvis Presley to Ray Charles.
Culled from an initial stack of roughly seventeen tunes, the nine songs that comprise Hoodoo come alive in the haunting atmosphere and intensity of the stripped-down recording process. Cut mostly live to tape—vocals and all—much of Hoodoo consists of first takes.
“There’s some actual magic that came over all of us when we were doing this,” White recalls. “I would sit down with my drummer Cadillac [Bryan Owings] and my bass player the Troll [Steve Forrest], play twenty seconds of the tune, and then say ‘We’re gonna hit record, and you just play what comes into your heart.’ It’s like everyone is getting the hoodoo sensation. Spontaneity is beautiful. And,” he adds, “since it’s our studio, there’s no hurry: no one is over our shoulder saying when we gotta get in and when we gotta get out…we were the record company.”
Hoodoo features autobiographical songs about his life growing up on farm and learning the blues (“9 Foot Sack”), cautionary tales of rural Mississippi (“Alligator, Mississippi”), and a tale of his trek homeward after the Nashville flood of 2010 (“The Flood”).
Despite his illustrious past, White feels no pressure to top himself. “There’s not a push nowhere,” he concludes. “Maybe I’ll stop playing shows and making records when the songs quit coming to me. But they still come to me. You see, I don’t work for a song—but once I get a hold of it I don’t let go. I just keep writing, and when I do, I want to go out and play it for somebody. It’s the songwriting that keeps me going.”




10/22/13

red winds now and then







Pat, 6'7" Russ Short 3 fin Bonzer : photos 2013

-----------------------------------------------------------


And then.... (below from "Fire Swell" 2007 october
Pat's first Bonzer and first day riding it.
a nice christening.
he now owns a few.



P. Towersey/Photo; Tim McCaig

For more pics and words, go to the source at Bonzerworld.




Great shot from Floridian surf photographer Patrick Ruddy. It's of Pat Towersey on a Campbell Brothers Bonzer in California.




Jeremiah Johnson

The Making of 'Butch Cassidy and the Sundance Kid' (1970)

A behind-the-scenes look at the making of the classic western about the lives of two of America's most famous outlaws. Director George Roy Hill narrates this film, talking about some of the experience, both good and bad, of bringing the film to life.

10/19/13

10/14/13

The Talk Box Guitar Effect






The Talk Box Guitar Effect

Peter Frampton’s 1976 LP “Frampton Comes Alive” gave the first wide spread rock n’ roll exposure to the Talk Box - an invention that had its roots in 1930s technology. Two of Frampton’s three singles, “Show me the Way” and “Do You Feel Like I Do?,” featured the talk box.

The first time I remember hearing a talk box was with Joe Walsh’s 1973 recording of “Rocky Mountain Way” from the “Smoker You Drink, the Player You Get” album. Having not seen what Walsh was doing to achieve this sound, I really didn’t know how he accomplished the strange "Bup-bo" sounds toward the cut's end until I saw what Frampton was using in 1976.

After Walsh, my next exposure was a Pete Drake single that I purchased at a flea market in 1974 – it featured the 1964 single recording of “Forever” backed with “I’m Just a Guitar and Everybody is Picking on Me.” The artist was billed on the label as “Pete Drake and his Talking Steel Guitar.” “Talking Steel Guitar,” how could I not buy this record?

Today’s feature picks up where Drake left off with his guitar humor and features the Talk Box designed by Bob Heil. Stillwater’s 1978 single “Mindbender” is about a fictitious talking guitar. The protagonist croons, “My daddy was a Gibson; my momma was Fender; that’s why they call me ‘Mindbender.’ ‘Mindbender’ – that’s my name. ”


History of the Talk Box


Alvino Rey’s Throat Microphone


As stated earlier, the idea for a talk box type of effect had its roots in the 1930s. The first prototype was used by steel guitarist Alvino Rey. His device was a military issue throat microphone that was used as an output of his amplified his steel guitar. Unlike Drake, Walsh, and Frampton, Rey didn’t manipulate his own mouth to provide the talking sounds. This was done offstage by using his wife, Luise King Rey, singing through the throat microphone that was used as an output device with her husband's steel guitar signal. I have a few of Rey's 78s that I got over three decades ago, but sadly do not have 78 player any longer.

In the accompanying video of “St. Louis Blues,” Rey’s orchestra is joined by the “talking guitar” puppet “Stringy.” The gimmick was to have the sound of Luise Rey’s vocal processed with Alvino Rey’s steel guitar appear as though “Stringy” was singing. While Rey invented his device in 1939, this video is from much later in his career.

I’m not 100 percent sure, but I believe Rey is playing a six-string pedal steel guitar. It has the same design as a Multi-Kord – one of the first pedal steels on the market. I purchased a Multi-Kord steel from a fellow college student, Scott Bryant, back in 1978 for $75.00. It is a horrible little instrument because there is the tendency for the cables to stretch causing the pitch to change unevenly when the pedals are depressed. Later pedal steels used rods to correct this issue. Rey also uses the steel's tone controls to achieve certain effects. My Multi-Chord has a tone button that allowed for very quick wah-wah type by rolling off the bass when the push-button switch is depressed.



The Sonovox Output Device


Simultaneously in 1939, Gilbert Hunger Wright developed a device that his father, novelist Harold Bell Wright, called the "Sonovox." The younger Wright noticed one day that when he scratched his Adam’s apple he could make unique sounds by mouthing the words. He took two small speakers that are not much different from modern headphones, input sound to the speakers, and placed on these on an individual’s throat. The resulting sound would emanate from the persons mouth when he formed the words and gave the appearance that the instruments were singing.

In the 1940 film, “You’ll Find Out,” Harry Babbitt demonstrates the Sonovox with Kay Kyser’s band. I’m not sure how they did this live, as the instruments do not appear to be miked. It is possible that it was prerecorded or there were other instrumentalists backstage that were miked and played on cue. He is not miked either until he sings with Kay. Is it live or or is Bell Labs? With that said, most recordings of that era were done with a single mike and that may be what is happening here. The single mic records were marvelous as correct mic placement allowed for a balance of the instrumentation and vocals.



Pete Drake’s Talking Actuator


In the 1960s, Nashville session musician, Pete Drake took the technology one step closer to today’s talk box. Drake attached an ordinary paper speaker cone that was attached to a funnel’s wide end and a plastic tube on the narrow end. The tube ran to his mouth where he mouthed words while playing his pedal steel. The device was used on a number of recordings, but was impractical for live performances as the volume levels were low. I am including his single “Forever” and its flip side, “I’m Just a Guitar (Everybody Picks on Me).

Pete Drake: Forever


Pete Drake: I’m Just A Guitar (And Everybody’s Picking on Me)



Doug Forbes’ Voice Bag


During the same period, another isolated event occurred that furthered the talk box technology. According to Doug Forbes, he was working in an electronic store in 1963 and a gentleman came in with an artificial larynx that had a tube connected to a buzzer on one end and the other end was placed in the user’s mouth and he or she would mouth words to communicate.

Wanting to try something different for his band, Forbes and his father rigged up a speaker driver and connected the tube to his mouth for a talking guitar effect. After experimenting with various drivers, he finally had a prototype that he placed in a bag that was slung over his back. The bag was made from green sofa upholstery material and trimmed with gold fringe.

The band’s manager attempted to rip off the idea and presented it to Kustom Electronics, the maker of amps and effects, and they produced a version that they called “the Bag.” Kustom marketed “the Bag” at $99.95 in 1968 (a great deal of money then) and it never achieved popularity. I am not sure that there were any recordings of note using “the Bag.”

 Kustom Electronics' "The Bag" from Doug Forbes design

Bob Heil’s Talk Box


The man generally considered as the inventor of a voice effect for guitar that was of suitable for high wattage output for live performances was Bob Heil. In 1972, Heil worked with Joe Walsh’s guitar tech to develop a 250 watt talk box for use on “Rocky Mountain Way.” Similar to Pete Drake’s and Doug Forbes’ earlier designs, Heil’s initial model was cumbersome and impractical for touring. By 1973, he had placed the speaker driver in a smaller fiberglass box making the effect easy for transport. On a side note, Alvino Rey, Gilbert Wright, and Bob Heil were all ham radio operators and the talk box was an extension of their hobby.

Joe Walsh – Rocky Mountain Way


Peter Frampton Makes the Guitar Come Alive

Peter Frampton, who had worked with Pete Drake on George Harrison’s “All Things Must Pass” LP, was impressed with Drake’s design; however, Drake was not willing to make one for Frampton. Bob Heil heard of Frampton’s interest and he gave him a prototype of his new design as a Christmas present in 1973. When the “Talk Box” was featured on the double live album “Frampton Comes Alive” in 1976, this exposure was viral. The popularity took the device to new heights of awareness. Guitarists all over the world clamored to have one and the rest, as they say, is history.

Peter Frampton – Show Me The Way


Peter Frampton – Do You Feel Like I Do


Bob Heil - 2007 Parnelli Audio Innovator Award Winner


Peter Frampton and Bob Heil Interview - 2009




Build Your Own Talkbox


Here’s an impressive young man that shows you how to build your own talk box so you can feel like Peter Frampton does. By the way for non-geeks, the young innovator mentions a DPDT switch - that is short for double pole, double throw.







http://zeegrooves.blogspot.com/2010/03/talk-box-guitar-effect.html

Gripping 'Cowsills Story' documentary coming to Showtime



The%20Cowsills%20pop-rock%20group%20is%20the%20subject%20of%20a%20new%20documentary%2C%20%22Family%20Band%3A%20The%20Cowsills%20Story%22%20premiering%20March%206%20on%20Showtime.%20%28American%20Dairy%20Assn.%29
The Cowsills pop-rock group is the subject of a new documentary, "Family Band: The Cowsills Story" premiering March 6 on Showtime. (American Dairy Assn.)


The new documentary “Family Band: The Cowsills Story,” premiering tonight on Showtime, opens with a compelling scene showing musician Bob Cowsill setting up single-handed for another thankless gig in the corner of a restaurant-bar of an Indian casino. As patrons chat, eat and drink, barely paying attention, he says, “I had four hit records between the ages of 17 and 21… I did!”


As is obvious in that scene, the Cowsills long ago fell off the radar of most pop music fans, and are remembered today primarily for their hit recording of the title song from the musical “Hair,” which spent two weeks at No. 2 on the Billboard Hot 100 in 1969.

Filmmaker Louise Palanker, with lots of unflinchingly direct input from the surviving members of the family group that became the inspiration for “The Partridge Family” TV series, tells a fascinating story of a group that had briefly captured the attention of the pop world, but disintegrated under the iron fist of its manager father, Bud Cowsill.

The film traces the band's story from early days in Newport, R.I., where brothers Bob, Bill, Barry and John Cowsill started their own band after being inspired, like so many of their generation, by seeing the Beatles perform on “The Ed Sullivan Show.” Within a few years, they were standing on the same stage, a slightly hipper version of the Osmonds, playing to a national TV audience of tens of millions with their 1967 hit “The Rain, the Park & Other Things.”

To the boys’ chagrin, their father soon insisted that they expand their ranks to include not just their baby sister, Susan, but their mother, Barbara, as well.

“We love our mom,” John Cowsill says, “but I challenge you to find a teenage boy anywhere who wants his mom in his rock band.”

The domineering stage parent is an all-too-common theme in show business, and the Cowsills’ version of the story includes many unfortunately familiar elements: the overbearing father, in this case a career Navy officer who was out of their lives as much as he was in them, whose alcohol use inflamed already volatile relationships; natural parent-child frictions magnified by the glare of the public spotlight; and family tragedies.

Barbara Cowsill died of emphysema in 1985 at age 56, the same disease that claimed Bill Cowsill 21 years later at age 58, less than two months after Barry Cowsill’s body was found in New Orleans following Hurricane Katrina. Bud Cowsill died in 1992 of leukemia.

There’s also the harsh reality of coming out of an incredibly successful period in their lives to discover they had no money to show for it. “We all started our adult lives in debt,” Bob says. “What happened to the money? It’s a mystery, but suffice it to say our dad mismanaged it and it was gone.”

The 87-minute film is filled with examples of other negative fallout of Bud’s dictatorial control over his kids -- especially Richard, the one child whom Bud refused to allow to be part of the band with his five siblings. Executives at ABC-TV met with them while creating a TV series built on their blueprint -- a mother recording and touring with her brood of boys and one daughter.



http://articles.latimes.com/2013/mar/06/entertainment/la-et-ms-cowsills-documentary-family-band-showtime-20130306



http://www.sho.com/sho/reality-docs/titles/3365261/family-band-the-cowsills-story#/index

shiloh 1970




Shiloh - Shiloh

 Pre-Eagles band Shiloh gained popularity all across Texas. The band consisted of Don Henley on drums and vocals, bassist Michael Bowden (Richard's cousin), keyboardist Jim Ed Norman, Dobro/steel guitarist Al Perkins and, of course, lead guitarist Richard Bowden. Along the way, they came to know Kenny Rogers, who encouraged them to go to Los Angeles and gave them tips on how to search for a record deal. Rogers' advice paid off and Shiloh released their first album, Shiloh, in 1970. The record spawned one regional hit single, but went otherwise unnoticed, and that, together with a bad management deal, caused the band to break up.
As Al Perkins left and joined The Flying Burrito Brothers, Don Henleywere asked if he wanted to go on the road with Glenn Frey as a band member to backup Linda Ronstadt. They also recruited the remaining members of Shiloh, Michael Bowden and Richard Bowden. Jim Ed Normanresurfaced as arranger and pianist on Eagles and Linda Ronstadtalbums.


http://theseekersturntable.blogspot.com/2012/12/shiloh-shiloh.html

Artist: Shiloh
Title: Shiloh
Year: 1970
Format: LP
Label: Amos
Shiloh is best remembered for featuring a pre-Eagles Don Henley as well as Al Perkins (Manassas, Flying Burrito Bros), and Jim Ed Norman (later the President of Warner Bros. Records Nashville). The album was produced by another well known artist, Kenny Rogers.
This is record contains some heavily country flavored rock, featuring pedal steel guitar. Obviously, some cuts are going to resemble Eagles’ material, but there are some psych influences creeping into the mix as well. (tymeshifter RYM)
Track Listing
  1. Simple Little Down Home Rock & Roll Love Song For Rosie
  2. I’m Gone
  3. Left My Gal In The Mountains
  4. It’s About Time
  5. Swamp River Country
  6. Railroad Song
  7. Same Old Story
  8. Du Raison
  9. Down On The Farm
  10. God Is Where You Find Him

10/13/13

10/12/13

Coordinates. 33 27.85 N 119 02.24 W






Frampton's Camel







All tracks composed by Peter Frampton; except where indicated
"I Got My Eyes On You" - 4:29
"All Night Long" - 3:19 (Frampton, Gallagher)
"Lines On My Face" - 4:50
"Which Way the Wind Blows" - 3:32
"I Believe (When I Fall In Love It Will Be Forever)" - 4:10 (Stevie Wonder, Yvonne Wright)
"White Sugar" - 3:37
"Don't Fade Away" - 4:39
"Just The Time Of Year" - 3:58
"Do You Feel Like We Do" - 6:44 (Frampton, Gallagher, Wills, Siomos)
Personnel[edit]

Peter Frampton - double bass, bass guitar, guitar, electric guitar, acoustic guitar, keyboards, vocals
Mick Gallagher - piano, electric piano, hammond organ, organ, hammond B-3, synthesizer, moog synthesizer, fender rhodes, harpsichord, accordion, keyboards, harmonica, vocals
Rick Wills - double bass, bass guitar
John Siomos - drums, percussion

10/8/13

free dive /spear



Deadly risks lurk behind the thrill of free diving



Tyler Pillion proudly rose to the surface 8 miles into the Gulf of Mexico, beaming as he held up a huge black grouper alongside his spear gun.
Diving without air tanks, Pillion, 19, decided to go down for more fish. He never resurfaced. A friend eventually would find his body at the bottom of the gulf.
The Sept. 24 death of this St. Petersburg Catholic High graduate — a fit and experienced diver — offered a glimpse into the little-known world of free diving, a growing phenomenon that teeters on the edge of tragedy.




Over the last five years, free diving has gained popularity among Florida fishing enthusiasts and thrill-seekers. Without air tanks or heavy equipment, a diver can stalk fish more easily.
But the breath-holding technique carries a potentially fatal risk. A free diver can suddenly experience shallow-water blackout, a condition that causes the diver to faint.
"You think it is a casual sport," said Dave Coover, Pillion's stepfather, "but it isn't.''
Accurate free diving statistics are not available, but one diving interest group counted 34 deaths and four injuries in 2006. More than half of those happened in the United States, and 60 percent of U.S. deaths occurred in Florida.
Some experts put those numbers much higher and say deaths have increased in recent years because of the sport's increasing popularity.
Many free divers don't like to talk about the risk. Some don't know it's there until it's too late.
"Just at the point divers become very good, they become dangerous," said Terry Maas, a veteran free diver from California. "There is no forgiveness."
• • •
Free diving isn't new. For centuries, Japanese and Mediterranean men and women used breath-holding techniques while collecting fish, sponges, pearls and other underwater treasures.
These days, despite the availability of scuba equipment and high-tech fishing techniques, the allure of moving about in the sea without tanks and tubes persists, often helped along by a machismo desire to push the body to its limits.
Free diving has gained widespread popularity in the United States only in the last decade. Florida has been the leading free diving state, with the Gulf of Mexico a prime arena.
The risks are rarely discussed outside of the more hard-core and competitive circles, and the physiology is tricky.
At the start of the dive, when the diver holds his breath, that oxygen is used by the body's tissues. As the dive continues, the oxygen begins to run out.
Because the brain is particularly sensitive to the lack of oxygen, the diver can instantly lose consciousness. Survivors of shallow-water blackout often do not recall signs of the blackout, such as dizziness or the need for air.
The blackouts seem to strike all ages and skill levels. Even elite free divers have died after running out of breath or passing out during dives.
Many amateur free divers — mostly young men — also have died in Florida. But the tragedies have been isolated enough that they have not drawn public alarm.
Some diving organizations, such as the Diver Alert Network, say up to 40 people die worldwide each year from free diving accidents. Even those aware of the danger can be victims.
Josh Choi, a student at Calvary Christian High School in St. Petersburg, was a well-trained diver who had been certified in scuba since he was 12. At one point, he could hold his breath for up to three minutes.
In March 2008, he went on a spearfishing trip in the Keys with his father, Sang, his three siblings and five friends. One of Josh's brothers saw Josh come up for air during a free dive, then disappear. He never came back up.
"I wish I could turn back the clock," Sang Choi said. "I wasn't paying attention. I blame myself."
Experts who later recovered Josh's body think he died of shallow-water blackout.
"It is frustrating," Choi said. "The underwater world is a foreign environment. It is easy to get complacent, but if you make one mistake, that is it. You don't get a second chance."
• • •
Kirk Krack spends 40 weeks a year traveling around the world, teaching people how to free dive.
"More people are free diving than ever before," said the Vancouver-based Krack, president ofPerformance Freediving International Inc. "The sport has just exploded."
Over the years, Krack has seen dozens of accident reports that point to a disturbing pattern. People are free diving with little or no training. They're doing it alone or without a proper buddy system.
Krack said 90 percent of all shallow-water blackouts occur after the diver has resurfaced. After the blackout, divers get pulled down by their weight belts and begin to drown. And it's almost inevitable for those who dive regularly.
"If they are in the sport long enough," Krack said, "it will happen to them."
Maas, an oral surgeon with a background in marine biology, is somewhat of a legend in free diving. He is a former national champion who has written several books on the sport.
He calls shallow-water blackout a "widespread problem." So much so, he has invented a buoyancy vestdesigned to save divers. But it has been tough to develop and finance.
Still, Maas can talk with authority about the dangers of the sport. He warns others of how unforgiving the seas can be, how easy it is to push the limits, how many people make mistakes.
"Anybody can go out and buy a mask and fins and start free diving," he said. "Young people get into the sport and develop the skills very quickly. Unfortunately, (shallow water blackout) gives no warning."
He's an expert on the topic, though there's one cautionary tale he doesn't like to talk about.
His teenage son, Loren, died while free diving.
• • •
Robert Richardson, 20, and his 16-year-old brother, David, were surfacing in the waters off Biscayne National Park when a strange sensation came over David.
"I couldn't see anything, just this bright light like a welder's torch," David later said. "It wasn't scary at all. It was very peaceful."
Robert noticed his brother no longer was with him. He turned around and saw David 30 feet below and not moving.
Instead of going up for air, Robert dove down. He poked at David, who was unconscious. He grabbed him and headed to the surface.
Moments later, both brothers were found floating face down, about 30 feet from their fishing boat. Friends dove in after them.
Both brothers' skin turned blue-black, a symptom of severe hypoxia. Friends performed CPR, and they were rushed to a hospital. They eventually recovered, but their mother remembers the state of shock she was in when she arrived at the hospital that day in April 2008.
"I was stunned," Julie Richardson said. "I almost lost both my sons."
Since then, Richardson has become a strong advocate for free diving safety and runs a Web site,www.divewise.org.
"I am trying to start a dialogue with divers," she said.
It's not easy.
"There is a lot of macho associated with free diving," she said. "People don't want to talk about shallow-water blackout."
Emily Nipps can be reached at nipps@sptimes.com or (727) 893-8452.
Safety tips

Use a buddy system: Never dive alone or without someone constantly monitoring the dive.
Get proper training: Some certified dive instructors in the Tampa Bay area specialize in free diving and can explain weight belt safety and surface intervals.
Know your limits: Don't try to prove how long you can hold your breath underwater on a dive. Understand that the brain can shut down before the lungs. 

What is shallow-water blackout?

Shallow-water blackout can occur without warning. In the latter part of a dive, oxygen levels drop in the body, with the brain being the most sensitive. A diver can lose consciousness in an instant and drown.


10/4/13

10/3/13