May 1, 2010 – Hawthorne’s Backyard
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- Hawthorne's Backyard
9:00 PM. $5.00 This is our second time at this venue. Brad Barrett and his lovely wife Andie go there often and he says it’s a great, fun place to see a band. I think it’s also because it’s close to his home. LOL Brad said the folks that go there and work are cool and fun! There were so many folks last time that I’ve known and hadn’t seem the band before.?? Also, a whole slew of folks who wanted to be there and couldn’t make it so this time should be more fun. Though I don’t know how. MT
Memories of Cleveland
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Mike Tafoya
Memories, of Cleveland Oh. Nov.1978.The first thing I remember about the TV show we were to do at the Agora Ballroom was why Cleveland. Not that there was anything wrong with Cleveland, I wanted to fly to either coast and not drive. You see, we spent the previous three and a half years driving all over the United States. I wanted to get there without spending the time in a car. That’s when I was informed that we were hiring a tour bus in Cleveland, nice. Also, the show was to include Meat Loaf, Ian Hunter, and Mick Ronson. Plus, the ladies who sang with Meatloaf either on stage or on the record, Ellen Foley and Karla DeVito. Ellen Foley who sang on the Bat Out Of Hell, we (the Boyzz) met her at the Paragon Studios in Chicago in Dec. 1977. We played on her demo at the same time we recorded our own (at Paragon Studios) with Steve Popovich (Cleveland International records) in charge. Barry Mraz (who produced the first Styx albums) at the helm, Stu Cook from Credence Clearwater Revival who worked with the band to tighten up and make us studio ready, and Jon Polous our manager and biggest fan to keep the peace and negotiate a deal. Jon Polous is the one who bought Steve Popovich and put the Boyzz on the radar and signed to Epic/Cleveland International Records.
The first thing we saw at the hotel was Chalk lines in the front of the foyer, you know the kind we see on TV to mark the spot where the murder victim was found. Makes one think. Once settled in the hotel we made it down to the hotel restaurant to eat, the guys told me that my youngest brother Mark Jeffery, was there and in a U.S. navy uniform. Sure, I thought. They weren’t lying, he was there and in uniform. Somehow he was sent to Cleveland before boot camp?
After that we went to the Agora Ballroom, which was a showcase concert club and where Meat Loaf made his launch a year before. There was a recording studio above the club itself. During sound check Ian Hunter and Mick Ronson came walked in and Gil and I were excited as hell. We were fans and to be there with these artist’s was truly a BIG thing. Ian and Mick taught the band a new song of his called “Standing In My Light”. This was to be his first time on stage since the Hunter/Ronson (Once Bitten, Twice Shy and England Rocks, later Cleveland Rocks) project fell through with a breakdown or something. Anyways, we’re on stage with these gentlemen once the first song was worked out we tried out “One Of The Boys”. Ian didn’t care for our version and suggested we simply rock the song without the frills? He was right, it was a jam night and we were to have fun.
After dinner we made it back to the Agora Ballroom, back stage Mick Ronson asked us if we’d be interested in doing a song with him and Dave Angel, Kent Cooper, Gil Pini, Anatoly (Tony) Halinkovich, and I say “YES”. We went to a back room with our instruments and learned a song (I can’t remember the name of the song though}. Mick Passed away in the 90’s, and I wanted to say that he was a real gentleman and true Rock Icon who is truly be missed. Later that evening the opening act The Iron City House Rockers came by and Meat Loaf and the Ladies showed up and the rest of the evening was plotted out with Steve Popovich, Jon Polous and the rest of us
First, the Iron City House Rockers set, which was very good. Then, Meat Loaf does an introduction; mind you Meat Loaf was sick with the flu and so wasn’t feeling on top at the moment but he’s a total pro and the trooper in him was there. He can sure act excited!!
Then the Boyzz did a six-song set followed with Mick Ronson playing and singing a song with us (not on the broadcast). Then the big excitement IAN HUNTER with MICK RONSON ‘LIVE’ on stage for the first time in about two years. “YEAH”, the crowd was on their feet. Now mind you, the Boyzz set was a total kick ass set and was totally well received, but Ian Hunter/ Mick Ronson set was a happening! He did Standing In my Light with the Boyzz and Ellen Foley to the loud responsive audience. Followed by One Of The Boys (not on the broadcast). Next, Meat Loaf and Karla DeVito join the stage for a kick ass version of Whole Lotta Shaking Going On. The stage is full and everybody was rocking. I remember Kid Leo (legendary DJ now on Sirius Radio), Jon Polous, Steve Popovich, and the rest of the Cleveland International crew and the local Cleveland rock people shaking, sweating, and clapping as well.
When the set was over the whole room was on their feet and we left the stage. The audience yelled for more and the Boyzz answered, Drive Me Crazy was our answer. It’s been our encore for the last year or so and continued to be for the rest of our tenure of the Boyzz.
That night at midnight was Gil Pini’s 22nd birthday. Gil and I end up back with the cleanup guy and he offers us some pasta dish and Heineken beer. When we finish the whole place was empty. So here we are, in the middle of the night, alone, and not sure how to get back to the hotel. We walked and eventually found our way back to the hotel and celebrated the night’s festivities and Gil’s birthday.
The next night we were in Pittsburg, and the rest is a blur.
Mike uses Gibson Guitars, Gibson Strings, Epiphone, Marshall, and Crate amplifiers, and Dunlop guitar Picks.
Gibson Humbucker Guitar Strings
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Mike Tafoya
This is a new line of electric guitar string from the Gibson Guitar co. called Gibson Gear,Elgin, Illinois U.S.A. It’s new to me…
I’ve written articles calling the Gibson electric guitar string “the best” actually; they’re my favorite electric guitar strings. Like I’ve said before, “I’ve used most of the major string brands and I play all the time. Also, I know it’s been said time and again “that guitar strings have so much in common that there’s no discernable difference between the various brands of strings”. I can understand this sentiment, yet I’ve come to understand a few things regarding the manufacturing and the elements involved making the string do what it does.
Things like, cover to core ratio, (the gauge or diameter of the wire used for the strings). If you were to put a thicker core the string would seem to have a stiff feel, where if you’d use a thinner core wire the string would be feel loose and seem to bend more easily. Too much in either direction, and the string doesn’t work for anyone. The same for the alloys or types or metal used to make the string effects the sound and feel.
I was a die-hard steel wrapped string guy since the early eighties starting with Bill Laurence steel wrap guitar strings; I switched to The Gibson “Live Wires” and fell in love with the punch and (feel and sound) consistency not so much the gauge. Later, when the “Vintage Re-Issue” nickel wrapped string came out, I tried those and found that they felt smooth on my fingers and, the strings tended to have a different response and sound which I thought was interesting. I guess the nickel wrap with the plain steel strings made me feel like my solos kicked in the high places. And, I switched to those. You know, I liked the way those strings sounded. There was a nice decay and not too much spike compared to a shorter decay and higher spike like I felt with NPS (“Brite Wires”), yet there was a problem. The nickel cover was a very soft one so I’d encounter fret wear immediately. And, the string would lose tone.
The GIBSON HUMBUCKER strings are made to be more alive or easier for the pick-up to respond to. The package says, “The only guitar string optimized for the humbucking pickup, Gibson Humbucking guitar strings utilize a special composite core wire and a specially formulated wrap wire. This design offers a unique magnetic formulation to make the most of dual-coil high-output pickups”.They sure write purdy.
I don’t use high-output pickups; I use the Gibson ‘57 Classic” and “Classic Plus” pickups on my Gibson “Explorer” (called my Frankenfiddle). These strings felt good and the tone had a good blend and consistency between the wrapped and plain strings. I just put the strings on my guitars, the“Explorer” and 56 ”Les Paul ”Jr. (different pickups) forgot about it until I was on stage and rocking. I’ve been using the “Brite Wires” for the last few years Gibson has discontinued the steel wrap(“Live Wires”) because I couldn’t afford to change my strings every single show for a good while there. Which made the “Vintage Re-issue” a no go. Since then I’ve never wanted to play strings that have no sound after the show. Too much hassle. And, the “Brite Wires” sound, was a good sound, everything was there. Nothing jumped out to me and I found myself just “playing guitar”.
So here I am, playing a show and noticed the tone. Plus, my fingers felt different smacking those wires. The rest of the night was fun and “in the moment”. The next week I called Gil Pini atGibson Gear in Elgin to ask him what was up with these “bad boys” and he hipped me to the extra iron in those “kickin’ rockers”.
I don’t have any “insider details” concerning the “Gibson Humbucker” electric guitar strings. I know they are sealed for protection from oxidization for the elements as all their (Gibson Gear)strings are. These are my immediate reflections as an experienced performing musician, guitarist, and still…. A fan!! Keep up the fantastic work, guys. You ROCK!!!!
When I find out more about the “Gibson Humbucker” electric guitar strings I’ll let you know.
Peace, and find your MUSE,
Michael Tafoya
http://www.tafoyaslostboyzz.com
p.s. I’m not affiliated with Gibson Guitar I’m a fan and customer.
Find out more at www.gibson.com
A Guitar and Life Lesson
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Mike Tafoya
My advise is to (is there anybody there, listening?) “forever learn your instrument”, find a track for your sound. Remember, “this IS a business”, and try to clean up or straighten up your life style to accommodate your dreams.
Sounds like good advise, believe me it’s not always that easy.Taking time for practice is one thing, making time to learn your instrument is ALL the rest! If I were paid for each time I heard some cat say that it’s “his style” that he plays, nothing fancy.
That’s great for an intended approach, though I know many cases where someone would tell me that and I knew he just didn,t know how to play his guitar. To me, I see a difference between a guitarist and a guitar player. Learn your “guitar” language and get an understanding on how to physically handle that beast.
Having someone show you and someone teaching you how to get there are, two different things. Get an idea of what it is you want to learn. Until you really know that, start or continue your studies. When the time comes for you to come up with a new part or arrangement, you’ll know how to find which way to go to get “there”.
A quote (or part of it) from Miles Davis is; basically “steal from everybody, eventually it becomes yours”. Everybody who’s good at all learned how to play that thing!
This is “your life, live it! Be strong, to go where you need to be. Be strong enough to say no!
Peace,
Mike Tafoya
Mike uses Gibson Guitars, Gibson Strings, Epiphone, Marshall, and Crate amplifiers, and Dunlop guitar Picks.
I use Gibson Pick-Ups, Why?
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By – M. TAFOYA
 Mike Tafoya For years or decades I’ve played electric guitar in bands at bars, schools, concerts and recording sessions yet I couldn’t tell you what pick-ups (p/u’s) were about. I mean, I didn’t have a clue as to what a pick-up did what to my sound. I grew up in a Gibson family. I mean that my relatives, when they didn’t ridicule me for my participation as a rock and roll guitar player, said if I played a guitar, it had to be a Gibson. So, I only had a clue about humbucker type pick-up’s Gibson used. Oh yeah, it’s little brother the P-90. My first electric was a Tiesco Del Ray I got for Christmas in 1967. I did get a Mattel Tiger guitar that was made of plastic and used a contact type pick-up. My brother and I each got one that XMAS so often times we’d use one of the pick-up’s as a vocal mic. Those days’ electric strings were extremely limited in types and gauges available to young poor city folk like yours truly. I think I only remember Gibson, Fender and Black Diamond strings. This is before the Maestro Fuzz and the Vox Wha-Wha were available to the buying public like me. Back to pick-up’s! With the limited info as to how the stars were getting “THAT SOUND” we just kept trying to learn guitar without “how to” magazines and poor sounding phonograph players playing 45’s on a tiny speaker. You could say there was no reason to discern between p/u’s. In the mid 70’s I was already playing full time and knew about vintage Les Pauls and the legendary PAF pick-up’s that were installed in them. Around that time a N.Y. Co. was making a name for them selves as a replacement for your non- Gibson brand type (humbucking) pick-up, DeMarzio. I ended up buying one for my 76 Explorer. Mind you I owned since the mid 60’s, a late 50’s Epiphone symmetric cherry finish Coronet with a, I think someone called it a cobalt pick-up. It is referred to as the “P-90”, or “soap bar” single coil type pick-up. I loved that guitar and its sound. I just thought I should have a “real vintage”sounding guitar with a humbucking p/u installed. I also owned a Les Paul Deluxe with the mini humbuckers. It sounded great, I just thought it should have full sized p/u’s to sound and look right. To quote Ian Hunter in the mid 70,s, “Rock guitarist’s seem to have this Gibson fetish”, and I did! I wanted the “look”. Gil Pini, the other Guitarist playing with me was using the DeMarzio super Distortion humbucking , and I for some reason didn’t feel good about it’s sound and feel, although it was touted as “heaven sent “ sort of thing, especially for Marshall amplifiers back then (no master volume on the pre-amp stage). I eventually purchased a Super 2 p/u, because it had more bite. And to me, meant, it would cut through cleaner and not be as transparent in the mix. I even bought the Alembic ‘Hot Rod Kit” for my 56 Les Paul Jr. (stupid) in 1976 or 77. That was supposed to be a good idea because it was hotter (better sounding) with a ceramic magnet to install, and since it was from Alembic (from California) and not some “upstart p/u manufacturer” it was the right thing to do. I didn’t think about the DeMarzio pick-up’s and I didn’t know that those pick-up’s used the ceramic magnets at the time. As I started to record in major recording studios I’d learn to discern my sound. I didn’t have those how to magazines to hip me to that elusive vintage “sound”. Yet, I could hear my Gibson Explorer and my Les Paul Jr. distorting at all volume levels as well as attack approach. It just wouldn’t smooth out. I was puzzled. Still trying to connect the look with the sound, I stumbled through the maze for years. Not having the patience, or the money to buy and compare p/u’s, I just tried to make a sound with what I had. I had all the right Pro equipment. Yet I was looking back, “wagging the dog”. A good sound starts from the fingers, to the guitar to the P/u’s. If you don’t start there, you’re spinning in circles and you’ll end up with a transparent (fuzzy) sound without body and response. “Your fingers are your tone generators”. Not the amps or pedals. Those are tools to augment your expression. And if you learn anything about trouble shooting on the fly, you go down the line to find the problem with your sound or rig. The same goes for finding your sound. When establishing your sound you start with your technique, through the pick-up on down to the amp. With trouble shooting on stage, you should start with the amp and go down the line back to you. Which makes sense since you’ve established your rig set up, and you’re trying to fix what was working, you back track. If not, you’re spinning in circles, again! So, I had a friend who made the point about how some pick-up’s play you and PAF’s don’t. I soon tried two 57 Classic pick-up’s installed on my 92 Les Paul Classic and what do you know? I had a sound that was tight on the bottom ringing on the top and honking clear / dirty mids when I played hard, and subtle soft tones when I backed off the and played lightly. I was in HEAVEN!! And the great thing that went with it was that, this same thing happened regardless of the volume setting on the guitar. My experience was that the tone I got on full could be bright and tight with honk, and as soon as I backed off the guitar’s volume, the tone would take on a dark or dull shade. This meant I would spend a lot of time tweeking the blend between my rhythms (clean and crunch) and lead tones. Looking for each was a drag, and a waste of time! I’m no tech. so I can’t and won’t waste your time with my take of their specs. I do know that there’s something about the combination of the enamel coated copper wire and the alnico magnets that give me a sound I can play with and use dynamics. It was soon after I started using the Gibson 57 Classic pick-up, that Gibson came out with their 57 Classic plus. This p/u was designed as a bridge p/u. that meant I didn’t have to adjust the pick-up height between the two (front and back) pick-ups to get a blend. The neck or rhythm pick-up is louder so you’d have to lower it to be even with the bridge pick-up. In the 50;s the gals at the pick-up dept. would wind these pick-up’s using an egg timer or something like that. Sometimes they’d be distracted and some pick-up’s would end up with more winds. Other times they would end up with less. The p/u’s with more windings sounded “hotter” and when people started going for the tone, they’d notice the sound of certain pick-up’s compared to others. It wasn’t rocket science to come up with the idea to put one of those “hot” pick-up’s in the bridge position you would have a bright, tight, and honk’n lead tone where there wasn’t. And a whole new sub market in ‘vinatge’ pick-up’s ‘ came about. Which brings us full circle, “I use Gibson Pick-ups and I’m sure that the other brands quality alnico pick-ups are a good sounding product. I do know what sounds good to me and what I know from “my” experience. Peace, Mike Tafoya Mike uses Gibson Guitars, Gibson Strings, Epiphone, Marshall, and Crate amplifiers, and Dunlop guitar Picks.
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Guitar Strings – Cont…
By · CommentsWhat are they good for?
String varieties or types
By – M. TAFOYA
Mike Tafoya
Getting in tune and staying in tune, are what the job requires, for sure. I’ve been in so many situation’s where string breakage and not staying in tune just creates havoc on the band, Audience, and music. I’ve had situations in my youth and now a days to be sure, where I’ve neglected to either change my strings, and a couple of times I like a dumb kid just didn’t bother to properly tune my guitar.
I used to work for the Gibson Guitar String and Accessories Division (now called GIBSON GEAR) as a shipping and receiving clerk then moved up to Regional Sales Manager in Elgin, IL. In those capacities I was able to see the Gibson String line from start to finish, as well as learning what alloys the strings were made of. I got to understand how those alloys affected their overall tone feel and playability.
Also, with trying to sell these products I found the questions and some of the answers to many of the issue’s we guitarist encounter.
Mind you, I’ve been playing now for over forty years and I’ve used most every brand of string manufactured. Obviously I haven’t tried every string brand sold out there, just most of them. I tend to play very hard when I’m rocking and I’m used to certain brands of guitar strings giving (or wearing) out. I don’t pretend to know what the ins and outs are to manufacturing strings. I do know what works for me!
I’ve used The Gibson Brand string for decades before I worked there and after I got the job in shipping (working for minimum wage); I’d buy the strings and turn them on to my guitarist friends. I’d also give them to some friends who weren’t guitarist, just guitar players. My point was to hip my buddy’s and other local “axe slingers” to these strings that seemed to tune well, not break from a good workout. Besides, I’d get them on discount.
I know the whole subject of strings is a subjective point of view. Here is mine.
ELECTRIC STRINGS
Basically we find three or four types of string covers for the windings. The plain strings are stainless steel at least as far as I know when it comes to a quality string set.
We have
Nickel wrap wound strings
NPS or nickel plated steel wrap wound strings
Steel or stainless steel wrap wound strings
Flat-wound stainless steel flat wrap wound strings
These different wound strings have each have a tonal difference as well as a feel or touch difference.
The NICKEL wound or “Pure Nickel” wound strings are generally referred to as the “vintage” electric string type. These strings have a warm, smooth attack and a gradual decay. This type of string is suitable for guitarists who play an arched top or Jazz-box type of guitar (usally with a wound third string), or the Vintage sound fan (blues, rock or country) and those who can afford to purchase strings regularly since they are a softer alloy and tend to lose their tone after a nights performance. These strings offer a different sound and feel in recording sessions because of their attack, decay, and punchy smooth tone
Electric String Types
The NPS or nickel plated steel wound strings are the choice of most of the artist I’m in contact with. These strings are brighter and harder than their nickel counterparts so they last longer, keep their tone and aren’t as prone to wearing out after one nights work out. You tend to feel these strings at the finger tips more than the nickel (harder alloy). So these are finger tip callous builders for you beginners and young artists alike.
The STEEL or stainless steel wound strings are the loudest and punchiest of the bunch. There’s a school of thought that these strings aren’t good because they tend to wear out or wear down the frets on your guitar. That’s especially true for the beginner guitar player who plays in a rather small or limited area of the fret board; you’ll find fret wear in concentrated areas of your fret board like the first fret of the G or third string especially. Pros tend to play chords with voicing’ that require playing guitar all over the neck using all the strings up and down the neck. That isn’t as much a problem for them.
The FLAT WOUND stainless steel wrap strings are a special application string used by The Jazz artists and commercial “jingle musicians who don’t want string and finger noises emitting from their amps during these “money sessions”. These sets do use a wound third string. The smooth feel and tone is a joy to play on, though you don’t bend these strings. You play a fluid glissando style of voiced solo and the attack is light and the tone is dark and warm. “Smooth”
Acoustic String Types
I’m familiar with the three main types of acoustic guitar strings, based on the alloy of the cover wire or wrap. Again the plain strings are usually stainless steel.
We have
1. Monel
2. Phos. Bronze
3. 80/20 Bronze or Brass
The “MONEL” string cover or wrap was a name for the Gibson for the first manufactured guitar string. I liked the long decay of the string with that cover. The string didn’t have a loud, sharp attack. That coupled with the decay made for a nice recording guitar that could produce notes evenly and ring with a nice slow decay. Since this is the set you have on your guitar, you really shouldn’t feel or hear a big difference between this type and a brighter type.
One gets used to the sound you get on your instrument, and as you play you would adjust to that sound. Sadly Gibson has discontinued the manufacture of the “MONEL” type covered string. Hopefully some one will produce these strings. Like I said these strings were a useful tool in the studio as well as live.
The PHOS. BRONZE string by contrast has a loud sharp attack that is considered to be the choice and favorites among professionals and semi. Pros. alike. They don’t keep the ring as long, and that will work for a pro.
80/20 BRONZE or BRASS are brighter and ring more than Phos bronze but generally don’t hold their tone as long as the Phos bronze.
There are other elements and factors that could be instrumental in your decision of brand and types of guitar strings. Like cover to core ratio, round or hex core types of strings, and of course string gauge. That’s another article and I’m not sure how to tackle those on paper just yet, maybe, later kidz.
I’m no expert, that’s for sure and I don’t make or manufacture guitar strings. So I’m just making observations based upon an outsider guitarist point of view. I hope I’m able to illuminate this “dark territory for us broke and or slow to learn impatient types of guitarist’s
Peace, Mike Tafoya
I’d like to thank Dave Timmons of Gibson Gear (1150 Bowes Rd. Elgin IL. 60123), 1-800-544-2766 (1-800-5 GIBSON) for his help and friendship.
Mike uses Gibson Guitars, Gibson Strings, Epiphone, Marshall, and Crate amplifiers, and Dunlop guitar Picks.
Guitar Strings – Part 1
By · CommentsA consistent performance and good gigs
By – M. TAFOYA
Mike Tafoya
Getting in tune and staying in tune, are what the job requires, for sure. I’ve been in so many situation’s where string breakage and not staying in tune just creates havoc on the band, Audience, and music. I’ve had situations in my youth and now a days to be sure, where I’ve neglected to either change my strings, and a couple of times I like a dumb kid just didn’t bother to properly tune my guitar.
I used to work for the Gibson Guitar String and Accessories Division (now called GIBSON GEAR) as a shipping and receiving clerk then moved up to Regional Sales Manager in Elgin, IL. In those capacities I was able to see the Gibson String line from start to finish, as well as learning what alloys the strings were made of. I got to understand how those alloys affected their overall tone feel and playability.
Mind you, I’ve been playing now for over forty years and I’ve used just about every brand of string manufactured. Obviously I haven’t tried every string brand sold out there, just most of them. I tend to play very hard when I’m rocking and I’m used to certain brands of guitar strings giving out. I don’t pretend to know what the ins and outs to manufacturing strings. I do know what works for me.
I’ve used The Gibson Brand string for decades before I worked there and after I got the job in shipping (working for minimum wage); I’d buy the strings and turn them on to my guitarist friends. I’d also give them to some friends who weren’t guitarist, just guitar players. My point was to hip my buddy’s to these strings that seemed to tune well, not break from a good workout. Besides, I’d get them on discount.
I know when I was trying to sell these strings to music dealers that I’d hear “all strings are the same man”! It would seem to make sense, it’s not true! There are very good strings, good strings and there are poorly made strings. Yes, it’s a subjective call and I am a ‘Gibson’ man. That saying doesn’t hold water to me at all. Since I stopped working for Gibson I’ve used and abused all types and brands of guitar strings. I know from experience that for the hard core “smack down” bruise and bloody your fingers guitarist. Gibson is one of the best.
What I do know and can tell you about these strings is the wound strings are smooth, feel tight, bend like a Mo-Fo and don’t break after a long set of banging and rocking your balls off!
Give these strings a shot and see what I know works for me.
Next time I’ll give you my take on what and how the different alloys do to the playability and tonal character of your performance.
Peace, Mike Tafoya
Mike uses Gibson Guitars, Gibson Strings, Epiphone, Marshall, and Crate amplifiers, and Dunlop guitar Picks.
Your Personal Tone Generator
By · CommentsA guide to getting a sound and trouble shooting
By – M. TAFOYA
Mike Tafoya
A good sound starts from the fingers, through the pick-up to the guitar and out. If you don’t start there, you’re spinning in circles and end up with a transparent (fuzzy) sound without body and response. “Your fingers are your tone generators”. Not the amps or pedals. Those are tools to augment your expression. That’s what guitar lessons teach you, not teaching you a song without teaching you, and guiding you in technique.
And, if you learn a thing or two about trouble shooting “on the fly”, you’ll go down the line to find the problem with your rig. The same goes for finding your sound. When establishing your sound you start with your technique, through the pick-up on down to the amp. With trouble shooting on stage, you should start with the amp and go down the line back to you, which make’s sense. Since you’ve established your rig set up. As you’re trying to fix what was working, you back track.
This saves time and controls moods, besides the over all situation’s under control. Then, if and when you need to use a stage tech, you’ll have a template in which to explain what it is you require from the person “you” hire. There’s nothing more frustrating than hiring someone, that has no idea what it is you need or want. Imagine working for someone without a clue. A band leader who expects you to read his mind? Communication starts with a plan.
Good luck and sound good, where ever your muse takes you, find a clue.
Stay in touch for a more in depth study of the elusive art of tone. Whose tone is good? Someday maybe I’ll be able to dial in someone else’s tone and tell you for sure what the deal is!!! RIGHT……. It’s all subjective!
Peace, Mike Tafoya
Mike uses Gibson Guitars, Gibson Strings, Epiphone, Marshall, and Crate amplifiers, and Dunlop guitar Picks.
Indian Larry, Tafoya and the Muse
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Indian Larry
Legendary rocker Michael Tafoya claims to be in the Muse. Perhaps he’s discovered a connection to the ancient Greeks and the young nymphs who presided over the eloquent arts of poetry and music. Muse were the daughters of Zues and Mnemosyne (which shouldn’t be too difficult to pronounce for Wisconsin readers from Manitowoo or Mukwonago). Taken literally it would mean he was in any one of the virginal daughters of the Greek Gods, but most contemporary folk prefer to think of the Muse as a sublime spirit, a source of genius, a moment of inspiration. Almost every artist, writer, poet, musician at one time or other, seeks the Muse. Think of it this way; Discovery Channel’s OCC boys occasionally seek the Muse for inspiration, but a lot of what they build is determined by corporate considerations. Still, OCC’s Paul Jr. has had some very inspired moments, but they appear to be based on availability of advertising dollars. Contrast that with Indian Larry who lived his whole life in the Muse. Larry’s every moment – awake or asleep embraced that vast biker ethos. He appeared shrouded in it. That awe inspired aura swirled about Indian Larry from the back alley to center stage. Even his death, while precariously poised upon a motorcycle, is testament to his devotion to a life throttled to the max. Who among us hasn’t contemplated our own mortality? How many decrepit old codgers laid out on their death beds don’t wish for that one last free ride, to blast into the glorious blaze of eternity? You’ve heard the saying, ‘I want to die laughing like my grandfather, not screaming like the passengers in his car.’ So as I describe Michael Tafoya’s relation to rock and roll, you’ll understand where this is headed.
Living in the Muse is fantastic for the artistic quest but tends to wreak havoc with any other element in one’s life – like relationships, jobs, rent. Also, the general populace may not recognize an artist’s talent no matter how steeped in the Muse. A few years ago at Sturgis, I happened upon the OCC booth as it was being erected and a crowd flocked eagerly seeking autographs. At that very moment, I spied Indian Larry slipping past unnoticed. Most likely the way Larry preferred. At the OCC booth was Vinny, an accomplished mechanic and the young pup, Cody, the apprentice. Both cool dudes. But seriously, who would you rather gave props to? Hell, I can go congratulate my own damn mechanic and not stand in line. Especially with one of the truly great builders of all time right there. Indian Larry was old school but he wasn’t old fashioned. Legendary rocker Michael Tafoya is more akin to Indian Larry or Billy Lane than the corporate shills who flout a few superficial skills. Tafoya is the real deal.
I first heard Tafoya when he was in the band ‘The Boyzz.’ Of course, on tour their
Indian Larry
road name was ‘The Boyzz from Illinoiz.’ If you lived in northern Illinois or Southern Wisconsin back in the mid seventies and were into motorcycles and music, it’s virtually impossible to have not heard of the Boyzz from Illinoiz. Their album cover (that’s right, black vinyl ‘Too Wild to Tame’ also released on 8-track) featured a quasi Marlon Brando type pose by one of the band members astride a bagger in what looked to be a deserted mining town, but actually was main street Dundee. The Boyzz played at places like the Edgewater in Twin Lakes, Hooker Lake in Salem, the Brat Stop and Rocket North. Tafoya’s next band was the B’zz featuring Tom Holland from Steppenwolf and also Steve Riley who played with LA Guns. They were the only unsigned act to ever play on American Bandstand. Tafoya went to work as Regional Sales Manager for Gibson guitars. He never strayed from music, kept working on his chops and continued to hone his virtuoso skills. As time passed, a lot of the 70’s bands started to resurrect themselves on the oldies circuit to cash in on their earlier fame. But this easy route didn’t sit well with Tafoya. He wanted to create a fresh sound, to breathe a new life into a new band, and like Indian Larry, Tafoya is old school but not old fashioned. He still pays tribute to his roots, but he does it as sincere homage, not to make a quick buck off of nostalgia – think of a guy who assembles bikes with store bought parts as opposed to the artist who fabricates his own. Tafoya creates his own. The band Tafoya’s Lost Boyzz consists of Chris McCoy on drums and Brad Barrett on bass, and has just completed work on a ten song CD called ‘Life.’
Listen, Tafoya is not American Idol material, no way shape or form. It’s pure and from the heart. No phony gimmicks litter the aural landscape. Tafoya’s been down the road to perdition and back, a survivor. Listening to the title track, I laugh aloud, the same spontaneous joy I feel when riding the highway and all worldly cares fade away in the face of God’s own breath brushing against my cheeks. Track 8 ‘Sturgis’ is a Santana-like tribute to the open road, very emotional, evocative. The lyrical refrain is ‘I’m in a Sturgis state of mind.’ The album isn’t a collection of songs stuck together, it’s more of a concept, a journey. Tafoya is a bona fide master of the guitar. Nothing fake, just that surreal dexterity that kindles the flames like an acetylene torch burning through heavy metal. Sparks fly. Wear goggles. More information is at tafoyaslostboyzz.com.
I realize the hardcore reader’s of FRP understand this, but for the casuals I need to say, don’t be like sheep standing in line for OCC when Indian Larry’s nearby. And folks, the spirit of Indian Larry is always nearby. With that in mind, here are a couple places to see Tafoya’s Lost Boyzz. On Saturday Dec 3, the Brother’s Rising MC Toys for Tots at the Puerto Rican Social Club, 150 S. Sheridan in Waukegan, IL. There’ll be a couple of full dress marines and dudes with patches from a multitude of different clubs. I know Preacher has discussed this before: about lame taverns that don’t allow patch holders that still claim to be biker bars. Well, this is very friendly gathering for a good cause and an opportunity to see all the glorious colors flying in full regalia. Everyone is welcome; it’s a very cool party that goes from noon until midnight. Tafoya performs around 10PM. On Dec 16, Friday night Demito Time, 335 E Kenilworth in downtown Villa Park, IL will be rocking. Friday night at Demito’s is always rocking, but Tafoya’s Lost Boyzz will be showcasing their talent. In fact, our fearless editor, Preacher was at Demito’s when this gig was booked. A few of the crew from Wildfire Harley make this joint a regular stop. Demito’s is located down the street from the old Ovaltine factory. Some of the girls who work the bar also work the biker circuit from Daytona, to Sturgis, to Laconia.
-Kenn Hartmann
Reprinted with permission
