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Topic: Sugarfoot Boogie: Don Davis |
Guy Cundell
From:
More idle ramblings from South Australia
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Posted 10 Sep 2016 4:19 pm |
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I was working on this solo without success. The E13 neck had me stumped until I read this wonderful archived SGF thread which may have provided a vital clue.
http://steelguitarforum.com/Forum5/HTML/002738.html
In it Mr Dixon mentions an E13 tuning as being the most popular at the time of “Slowly†and the revolution in playing style that it brought on. The tuning is a variation of the McAuliffe E13 but with a different bottom end. The middle E is there, the lack of which is difficult to adjust to with the McAuliffe tuning.
This tuning seems to be the closest I have seen to standard E9 pedal and not one that I’ve seen mention of before. I am wondering if this was a popular regional variation, ‘Nashville†E13, if you will, or did West Coast players use it as well.
Anyway, here is an audio cut of the solo. I think my transcription is around the mark but any corrections, observations or comments are welcome.
https://soundcloud.com/guy-cundell/sugarfoot-boogie-solo-don-davis
Here is the full track lead by the incomparable Hank Garland.
https://www.youtube.com/watch?v=JgAwn-SpcBE
‘Nashville’ E13: B D E F# G# B C# E
McAuliffe E13 : E G#D F# G# B C# E
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Chris Bauer
From:
Nashville, TN USA
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Posted 10 Sep 2016 10:26 pm
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I don't mean to hijack your thread, Guy, but I can't help but ask...
Surely I'm not the only one to notice that the first half of this solo is realllllllly familiar. Seems to be almost note for note the same as the beginning of the steel guitar break in an iconic instrumental.
Am I making this up? |
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Mitch Drumm
From:
Frostbite Falls, hard by Veronica Lake
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Posted 10 Sep 2016 11:32 pm
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| Chris Bauer wrote: |
Am I making this up? |
No.
It's pretty obvious. It's been a long time since I listened to the song and I have to say I can't recall noticing it before. Maybe I was too entranced by Garland to notice what Don was doing. |
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 11 Sep 2016 12:12 am
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| Well, Chris and Mitch, don't keep us in suspense. What is the tune that is referenced? |
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Mitch Drumm
From:
Frostbite Falls, hard by Veronica Lake
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Posted 11 Sep 2016 2:00 am
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None other than:
https://www.youtube.com/watch?v=CxwwDgu5_Ek
Surprising only in that it's so blatantly a rip-off, without the same dazzling technique.
Not surprising considering the steel guitar hierarchy in 1949--he cast a wide-reaching spell. Five years later, everybody was on a Speedy West jag. |
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 11 Sep 2016 7:24 pm
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Very interesting, Mitch. I was thinking 'Murphey influence' when I was copying it out but this is surprising.
Here is someone else helping himself to Murphey's solo, fiddler Dale Potter.
https://www.youtube.com/watch?v=qWjjjt_uFm0
On a related topic, can anyone tell me which came first, 'Fiddle Patch' or 'Oklahoma Stomp'? |
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Mitch Drumm
From:
Frostbite Falls, hard by Veronica Lake
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Posted 11 Sep 2016 8:04 pm
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That particular version of "Fiddle Patch" is decades after "Oklahoma Stomp".
Potter was born in 1930.
Oklahoma Stomp is from early 1946.
As far as I know, the label below is the original version of the song as done by the "Country All-Stars"--Chet, Dale, etc--late 1952.
It was re-issued on that well-known "Country All Stars" CD by Bear Family maybe 25 years ago. Byrd is on a lot of those tracks.
Here's the Country All Stars version, no steel ride, but clearly taken from Joaquin/Spade:
https://www.youtube.com/watch?v=jPmNl9a5NNo
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 11 Sep 2016 9:59 pm
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Thanks for that, Mitch. It seems as if the tune has become a fiddle standard, traveling even as far as bluegrass.
https://www.youtube.com/watch?v=vdWq8uxeNQQ
It's good that Nicky Sanders acknowledges the origin of the tune.
I would be interested to know if Murphey was even acknowledged as the original composer of Oklahoma Stomp. To me the head sounds like a Murphey solo, in the tradition of Parker's bebop compositions but it wouldn't surprise if the band leader has his name on it. |
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Mitch Drumm
From:
Frostbite Falls, hard by Veronica Lake
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Posted 11 Sep 2016 10:35 pm
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Here's label shots of the original issue (Columbia 37273 from 1946) and a 1949 reissue (Columbia 20573) with conflicting composer info.
I wouldn't be surprised if Spade had little or nothing to do with it.
Johnny Weis was a take off guitarist; Pedro De Paul played accordion; Cactus Soldi was a fiddler.
The song is mostly a steel workout, so you have to wonder if it isn't a largely a Murphey comp but he was unnamed on the label for reasons known only to Spade Cooley.
I have no idea what ASCAP or BMI websites might reveal.
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Chris Bauer
From:
Nashville, TN USA
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Posted 12 Sep 2016 5:55 am
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Funny about "Fiddle Patch". I was at a band rehearsal last year and the fiddle player brought it in. Having not heard it before to my recollection, I was stunned to hear it have that title. (Or, more to the point, to have that title have that melody and arrangement.  )
I'd forgotten about that. Oklahoma Stomp seems to have 'gotten around'... |
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Andy Volk
From:
Boston, MA
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Posted 12 Sep 2016 6:43 am
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I always assumed it was a Murph original - it just has all the hallmarks of his style and phrasing. It seems to be one of those tunes that musicians dug and was played and imitated but not really recorded often under its title. The whole notion of musicians receiving fair credit for their compositions was decades away. How many classic songs were credited to the producer or record company executives and A&R men who had nothing to do with them?
Thirty years ago I had a boss in the television business who had an office full of awards - all work done by others for which he had weaseled his name onto each plaque only by virtue of having the power to do so.
_________________
Steel Guitar Books! Website: www.volkmediabooks.com |
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Tom Gorr
From:
Three Hills, Alberta
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Posted 12 Sep 2016 7:04 am
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| Andy Volk wrote: |
Thirty years ago I had a boss in the television business who had an office full of awards - all work done by others for which he had weaseled his name onto each plaque only by virtue of having the power to do so. |
Mostly from people who have never had enough talent to do anything with any personal authenticity,thus have focussed their attention on mastering the art of thievery.
The scum of the earth for sure. |
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