Flang Dang

Product Information

That actually was John David who was the bass player on La Booga Rooga [Andy’s second solo album, released in 1975] and [on] my stuff and in the band in the 70s when I worked on A&M. There you go. Funny old world.

Remember, the more sources you borrow from, the less you sound like, say, a Robert Johnson clone, and the more you’ll sound like a player who is steeped in the blues. So, take a deep dive into the styles of 12 all-time great guitarists with Play the Blues Like… by Pete Madsen, published by Acoustic Guitar.

Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Example 4approximates the last three measures of “Crazy”’s 12-bar verse. Start out with a D7 chord, fingered the same way as in standard tuning, but with a slight change—the first string is open, rather than stopped at the second fret. Note how the notes on string 1 then ascend and descend through notes that include the ninth (E) and raised ninth (F/E#), adding a bit of sophistication to the proceedings. For me, it’s just a sound that will constantly keep coming around even if it’s not the flavour of the month or the minute. There’s a bit of a thread; reading about your early inspirations of one of them was when you saw the Rolling Stones in 1964. Not so much in the 70s, no. We knew each other because we’re both Ry Cooder fans. I’d seen him at a few Ry Cooder concerts, stuff like that, and it was in the 90s. I went to Japan. It basically was Eric Clapton’s band and I got sort of brought into that band at that time and we did a couple of months in Japan playing live with George. That was pretty special. Then he did a concert at the Albert Hall for the Natural Law party and I got called for that. Then he was guesting with Gary Moore at the Albert Hall for two nights and he just phoned me up and he said, “You fancy coming up and playing with me?” and I went, “Yeah. Why not?” And then, halfway through the conversation he said, “It’s a long way isn’t it?” and I said, “I’m coming.” So I went to Friar Park and we stayed the night, then we went and played for two nights. Oh man, I loved him. He was good. My pal, I think is what we say. My pal. He was my pal. Yeah he’s a lovely man. Very funny. A fabulous slide player too and what a song writer. Talk about in a category all of his own. Nobody wrote songs like George and that’s a fact. The whole album has the patina of maturity that you would expect from someone with such a huge wealth of experience as a musician and a gentleman.

After the D7 bar, you’ll play a very cool G-chord run: Slide with your first finger, barring the top two strings, to imply a G7 chord that morphs its way into a G triad played on strings 2 and 3, fretted with the first and second fingers, respectively. Maintain that shape as you descend chromatically down to another G played on the open G and B strings. Andy Fairweather Low speaks to Jason Barnard about his new album Flang Dang, his first solo album in 17 years. He also covers his highlights from his time as lead singer of Amen Corner, solo hits and time playing with Roger Waters, George Harrison and Eric Clapton.And you mentioned Roger Waters earlier. The scale, even from the first tour that you did on Pros and Cons of Hitch Hiking , must have been just something else. Yes. Joe got hold of that. The reason Joe got hold of that too was Ethan Johns, Glyn’s son, produced that album. There’s the connection for that. They like that song so much. His album was called Hymn For My Soul and his tour that he went out with was called the Hymn For My Soul Tour so, I mean, there you go. You know I should retire now and go, “Right that’s it. We’re done.” And I love Joe’s version of it too. There’s a couple of great songs on that album, but I would say that wouldn’t I?