Climbing thePalace Walls - Hankray's Blog - Bakersfield.com

KIM McAbee Of Bakersfield Sings A wonderful song

Fri, 10 Jul 2009 22:03:13 PDT

Kim McAbee of Bakersfield sings a really great song. I loved seeing and hearing Kim at the Palace with Buck Owens and Buddy Owens. Here she plays with her own band.

SEE DR. BLT MAKING HIS COUNTRY MUSIC RECORD..GREAT FILM!!! JUNE 2009

Thu, 09 Jul 2009 22:26:29 PDT

FALLOW THE CAMERA TO A GREAT PROFESSIONAL RECORDING STUDIO WITH LOCAL CELEBRITY DR. BLT. THIS IS A GREAT FILM!!! FILMED -JUNE 2009

Lots of local talent helps out, including Rockwell from Trouts. I was not good enough for this project but feel free to check out my other posts for my strange music videos.

Clarence White and The Bakersfield Sound, What did Buck Say?

Tue, 07 Jul 2009 06:22:41 PDT

Clarence White and The Bakersfield Sound, What did Buck Say? A rare film Clarence and his family as kids at a Griffith park

[In 2003, White was accorded #41 on Rolling Stone Magazine's list of the "100 Greatest Guitarists of All Time".} Clarence often recorded at Bakersfield studios and played atBakersfield Honky Tonks. Clarence's song "Nashville West" and Buck Owens' "Buckaroo"- is almost the same song.

I few years back I was at the Buck Owens Crystal Palace for my birthday. My son gave Buck Owens
a napkin with the song "Made in Japan" . Buck called out my name and played the song for me with his band "The Buckaroos". Later that night I had the honor of a few words with Buck. He said that "Bakersfield was not Nashville West, it had nothing to do with Nashville, that is why it was so important to the country music rebellion back then" In truth the term was coined from a band's name in the 1960s "Nashville West was a short-lived American country music and rock quartet that was briefly together in the late 1960s. The group comprised multi-instrumentalist Gene Parsons, guitarist Clarence White, singer-guitarist-fiddler Gib Guilbeau and bassist Wayne Moore. Parsons and White left the band to join The Byrds while Guilbeau later joined the Flying Burrito Brothers." Clarence White changed the guitar sound with the Telecaster in the 1960s as Buck Owens and Don Rich did in a few years earlier. Clarence had revolutionized the acoustic bluegrass guitar styles as well.

CLARENCE FROM WIKIPIDIA

"The Kentucky Colonels

Clarence Joseph White was born on June 7, 1944 in Lewiston, Maine^[1][2]. In 1954 the family followed relatives to Burbank, California from Madawaska, Maine. That year, the White brothers (Roland, Clarence, and Eric Jr.) formed a band called the Three Little Country Boys. They soon secured a regular spot on a local radio program, and attracted the interest of country star, Joe Maphis. In 1958 the band cut their first single, and had become well enough known to land several appearances on the Andy Griffith Show. In late 1962, the Country Boys became the Kentucky Colonels.

Despite their successes, the Colonels were having a harder time making a living playing bluegrass. The folk boom had been staggered by the British Invasion in 1964, but the death blow, ironically, was dealt in mid-1965 with the release of "Mr. Tambourine Man" by the Byrds and "Subterranean Homesick Blues" by Bob Dylan. While they did attempt to experiment with electric instrumentation, this was only met with indifference from rock audiences and consternation from their folk and country fan base. By October of '65, the Colonels dissolved as an ongoing unit after playing their final show on Halloween night.

The Byrds

After the dissolution of the Colonels, White found employment as a session guitarist in Los Angeles, playing on early records of The Monkees, and performed at night with future Byrd Gene Parsons in the group Nashville West. Along with the International Submarine Band and the Flying Burrito Brothers, the band was one of the first to play a seamless blend of country and rock in modern pop music.

White's association with the Byrds began in earnest in 1966, when he contributed his distinctive playing to former member Gene Clark's solo album Gene Clark with the Gosdin Brothers; he and Gene Parsons briefly joined Clark's touring band shortly thereafter. Striking up an acquaintance with Byrds bassist Chris Hillman (who played mandolin in bluegrass combo the Hillmen before electing to join the rock wave) during the Clark sessions, White contributed twangy lead guitar to two of his songs from the album Younger Than Yesterday: "Time Between" and "The Girl With No Name". Both of the country flavored songs were a bit of a stylistic departure for the group, who until that point had rarely strayed from folk or psychedelic rock. White was invited back to record a lead guitar solo for "Change is Now" on The Notorious Byrd Brothers. With its utilization of echo and delay and emphasis upon texture rather than melody, the piece has been favorably compared to the later work of Brian Eno and Daniel Lanois.

White would also contribute to Sweetheart of the Rodeo, the group's Gram Parsons-led foray into traditional honky-tonk which has become a landmark, iconic recording. White's innovative and unusual string bending and sense of timing played a key role in the album's remarkable instrumentation which sounds as fresh and exciting today as when it was recorded. White's guitar licks on that record, with Lloyd Green's and Jaydee Manness's pedal steel playing, have become legendary, particularly his solos on "The Christian Life", "One Hundred Years from Now", and "The Blue Canadian Rockies".

After the abrupt departure of Gram Parsons in 1968, with Hillman following not long after, White was finally invited to join the reconstituted Byrds in September 1968, remaining until the group was finally dissolved by Roger McGuinn in 1973. The White-era group (McGuinn, White, Gene Parsons, and bassists John York & Skip Battin), while never held in the same esteem as the original band and often dismissed as being little more than McGuinn and his backing band, would maintain a loyal following into the early 70s and record five albums to somewhat favorable reception. However, while the original group's ability to play live was often questioned, the latter-day Byrds – propelled by the intertwining lead/rhythm guitars of White and McGuinn – were considered to be one of the live powerhouses of the epoch (see Live at the Fillmore - February 1969). Never one to abandon his roots, White was well-known for downplaying his onstage virtuosity, maintaining the stern "poker face" composure common amongst bluegrass musicians.

Despite being on the road for the majority of the year (poor business decisions had left the band wallowing in debt, forcing McGuinn to continue to use the Byrds moniker and interminable stretches of road work), White continued to play sessions during his Byrds tenure, alternating with Ry Cooder as guitarist on Randy Newman's 12 Songs and collaborating with the insurgent singer-songwriter Jackson Browne on his albums. Periodically fronting the group, White sang the Browne composition "Jamaica Say You Will" on Byrdmaniax and the bluegrass standard "Farther Along", providing the title for the group's final album.

[edit] Post-Byrds and death

By 1972, the pace of the group had slowed down considerably; while they would mount two more tours with percussionist Joe Lala on board for the band's farewell show, much of McGuinn's attentions had been diverted to a possible reunion of the original Byrds, contingient on his disbanding of the "other" Byrds. After fulfilling their final obligations in early 1973, the Clarence White-era Byrds broke up.

White remained busy throughout early 1973. In addition to more Browne sessions, he joined with Peter Rowan, David Grisman, fiddler Richard Green and banjo player Bill Keith to form the bluegrass supergroup Muleskinner. The group was scheduled to back up Bill Monroe on a TV broadcast, but ended up performing on their own when Bill's bus broke down on the way to the show. The band played anyhow and the live tapes once thought lost have reappeared and been released in recent years. Shortly after the concert, they made some preliminary recordings, all of which were in the vein of contemporary bluegrass or "newgrass".

His final road jaunt was a three-date "country-rock" package tour with the likes of Gram Parsons, Emmylou Harris, Sneaky Pete Kleinow, and Chris Etheridge. Even though they had presumably been acquainted with one another in the past, Parsons and White would develop a fast friendship after what was by all accounts a very acrimonious re-acquaintance.

White died on July 15, 1973^[3] after being struck by a drunk driver. The accident occurred shortly after 2 a.m., while he and his brother Roland were loading equipment into their car following a spur-of-the moment reunion gig of the Colonels.^[4] Especially shaken by his death was Gram Parsons, who would lead a singalong of "Farther Along" at the funeral service and conceive his final song before his own death, "In My Hour of Darkness," as a partial tribute to White.

Clarence White is survived by his brothers Roland and Eric and sisters JoAnne and Rosemarie, one daughter, Michelle, and her five children.

[edit] Musical influence

Clarence White helped popularize the acoustic guitar as a lead instrument in bluegrass music.^{[citation needed]} With few exceptions, prior to White, the guitar was strictly a rhythm instrument.^{[citation needed]} Tony Rice cites White as his primary musical influence. Rice owns and plays White's highly modified 1935 Martin D-28. David Grier and Russ Barenberg are two other acoustic guitarists who were heavily influenced by White's guitar work.^[5]

On the electric side of the guitar spectrum, White was similarly influential.^{[citation needed]} With fellow Byrd Gene Parsons, White invented the B-Bender device. This device raises the b (second) string of the guitar a whole step by the use of pulleys and levers attached to the upper strap knob and the second string on the guitar. It is activated by pushing down on the neck, and produces a "pedal steel" type sound. Subsequently, his Telecaster sound became as notable as his bluegrass playing. Marty Stuart, another guitarist influenced by White's playing, now owns and regularly plays White's 1954 Fender Telecaster with the prototype B-Bender.^[6]"

In 2003, White was accorded #41 on Rolling Stone Magazine's list of the "100 Greatest Guitarists of All Time".

http://www.youtube.com/watch?v=6x4lArNXRF0

BAKERSFIELD SOUND, MUSIC VIDEO

Sun, 05 Jul 2009 08:18:01 PDT

This video shows some of the Bakersfield sound in my song of the same name. Note the addition of Clarence White whom has been left out of the story until now. He was in the 1960s band "Nashville West" he invented the B bender and the style used by most pickers today both in country and in bluegrass. This one is for you Clarence R.I.P.

POST TRAMATIC STRESS DISORDER MUSIC VIDEO

Thu, 02 Jul 2009 18:30:52 PDT

With this video I wanted toshow the inner termoil of the mind during PTSD .

My High School Crush is made into In A Hollywood Movie

Thu, 02 Jul 2009 18:20:50 PDT

When I was in Jr High and High school I had a crush on Cherie Currie, whom was in my classes. She became a rock star and I went to Bakersfield. I was offered to play a small roll in the movie but coudn't get off work. Someone is playing me in the movie, she actually turned me down when I asked her out back then, The youtube here was written and performed by me for Cherrie, with her permission

Currie is the co-author of Neon Angel: The Cherie Currie Story, in which she tells of her trials and tribulations growing up in California in the '70s, her struggles with drugs and alcohol, and her days with The Runaways. The book is the basic material for the movie The Runaways\Neon Angels^[1] ^[2], starring Kristen Stewart. Dakota Fanning will play the role of Currie.

Currie was married to actor Robert Hays in the 1990s and they have one son. They are now divorced.^{[citation needed]}

In 2008, Currie contributed to Carrie Borzillo-Vrenna's book, Cherry Bomb.^[4][5]

giantの無料動画、無料動画が見つかる世界中の動画からgiantの動画を探す ... GIANT ANTS, STEEL BAKERFIELD SOUND:

Tue, 16 Jun 2009 07:54:22 PDT

giantの無料動画、無料動画が見つかる世界中の動画からgiantの動画を探す ... GIANT ANTS, STEEL BAKERFIELD SOUND:“I've heard of retro 50-style horror flicks, but never one where the theme is a metaphor depicting the record industry as a predator with its aim being what remains of the legendary Bakersfield sound” DR. BRUCE THIESEN

SCALING THE PALACE WALLS, BUCK SHOT'S FIRST SHOW AT THE CRYSTAL PALACE

Wed, 27 Aug 2008 21:37:38 PDT

Thursday, August 7, 2008

SCALING THE PALACE WALLS, BUCK SHOT'S FIRST SHOW AT THE CRYSTAL PALACE

The world famous Buck Owens Crystal Palace

Article by Hank Ray. Photos of Buck Shot by Hank Ray: Crystal Palace and Buck Owens photos courtesy of Crystal Palace. Buck Shot logo courtesy of Buck Shot. Group photo by Dr. BLT.

SCALING THE PALACE WALL (THE RESERECTION OF THE BAKERSFIELD SOUND)

All afternoon I have been anticipating the night’s entertainment at the Crystal Palace. I was excited about hearing a new band that has generated more than a little excitement here in Bakersfield.

Buck Owens, the founding father of the Bakersfield sound.

As I pointed out in a recent issue of Bakotopia : “The name of the band is “Buckshot” and they are locked and loaded, fully loaded for Buck. In fact, one of the lead singers is John Owens, son of the late Buck Owens.
John has been a hard working ranch hand and foreman on the Owens’ Horse Ranch for most of his life; and is the quintessential “American cowboy.”

He is a caricature of the West — he speaks in a direct manner, and is reserved with facial expression and tone. When we first met, I couldn’t help reflecting on the Western movie classic, “Tombstone” when the character Mr. Fabian states to Josephine Marcus, “You’ve set your gaze upon the quintessential frontier type. Note the lean silhouette ... eyes closed by the sun, though sharp as a hawk. He’s got the look of both predator and prey.”

Ranch hand turned country singer, John Owens.

John Owens has none of the attributes of a musician, save one: He has a voice bestowed on him by his father.

In addition to John’s extraordinary voice, the band is the perfect mix of talent. Meeting the band was much like the David Allen Coe song, “Desperado’s Waiting on a Train.”

Buckshot is a group of friends who like to hang out together. One day at the beach they discovered John had the “Owens gift.” Rhythm guitarist, David Allen, started his music career when he got out of the Navy. David, like the rest of the band are hardcore Bakersfield born and bred, and most are relatives of country royalty.

David Allen just before the show

David Allen rips it up on stage at the Crystal Palace!

But despite their country roots, all the band members came from an assortment of local heavy metal bands that have been shaking the walls of Bakersfield for the last decade.

When I asked David to describe Buck Shot’s music, he relaxed his arms over his guitar, turned his head toward the band and said, “We got a bunch of rock guys with an old school country guy, so it’s going to have an almost Southern rock edge.”

Simon Faughn, as John Owens points out, is as far from country in appearance as a person could be — shaved head, Mr. Spock side burns, and two sleeve tattoos down his arms. Simon has played in many local metal bands over the years. In fact, he is also concurrently in a popular band called 800 lb. Gorilla. And where does an 800-lb. gorilla sleep? Any where he wants to — even the world famous Buck Owens Ranch!

Simon, relaxes just before the show.

Simon warms up at the Buck Owens Ranch Studio.

Simon went on to describe his musical influences with Buckshot …

“Once we start writing our own music, that’s when our real distinctive sound will emerge, and our roots will shine through. Hank III is my absolute favorite. The influential roots I pull from go way back. I like that old boondocks, hillbilly, redneck sound, I LOVE THAT!”

Mike Martin holds down the lead guitar, backup vocals, and sports a red, white, and blue Fender Telecaster in the tradition of Buck Owens, whose songs they cover so well. Mike screeches and twangs like the old masters, and I am sure Buck would approve. His vocal high notes are reminiscent of Buck’s old partner in rhyme, Don Rich.

Mike Martin shreds the Telecaster as Buck Shot's lead guitarist
Like most of the band, Mike’s family was also involved in the early Bakersfield music scene. His grandfather is the great Lloyd Reading.

The rhythm section of Buckshot is comprised of DD Boutros, bass; and Colby Swank, drums. They too are products of the local metal scene and sharpened their chops in local head banging homeboys, “Myndsick.”

(upper) DD Boutros slaps out the rhythm on bass for Buck Shot at Crystal Palace. (Lower) DD warms up at Buck Owens Ranch Studio.

Colby and DD create a wall of driving sound that sets the canvas for what is sure to be called a “new Bakersfield sound” masterpiece!”(Hank Ray, Aug. 7, 2008; Page 9).

Colby Swank on the Palace stage, pounds out the time

Colby Swank and step father Mark Yeary

Since, I first met the band at the Buck Owens Ranch; Mark Yeary was added on keyboard. Mark has been keyboardist for Merle Haggard for over 20 years and is drummer, Colby’s step father.

Mark Yearly has been keyboardist for Merle Haggard and more for over 20 years

David Allen, rhythm guitarist, whom started his music career when he got out of the Navy, plays a beautiful flamed Fender Telecaster. The Fender Telecaster is the guitar that defined the original “Nashville West” rebellion decades before, note that many “Bakersfield sound” pioneers consider the “N.W.” word a bad thing; “Bakersfield has nothing to do with Nashville” . David, like all the members of the band are hard core Bakersfield born and bred, most are relatives of country royalty but they all kept it pretty close to the vest.

I had been watching the clock when the hands finely landed at on 4:30 P.M; I climbed in the old car and pulled out of the driveway, rolling down the sweltering one hundred degree Bakersfield streets, rolling along with dust and discarded cigarette butts, paper plates and cups passing the very resting place of Buck Owens on Panama Lane and the 99 free way in South West Bakersfield. Once I hit the 99 it was only a matter of minutes until I hit Buck Owens Blvd. , the off ramp leads right into the Crystal Palace. When my wife and adult son pulled up in the rear parking area of the Crystal Palace, between the KUZZ radio station and the actual Palace, there was already a steady stream of patrons heading toward the front entrance of the venue. I leapt from the car and headed for the front door just before I hit the board walk I caught the figure of the band exciting from a rear door. John Owens exited first followed closely by his “country-metal hybrid compadres”. The guys informally gathered around the small lawn just outside the rear of the Palace. I sensed some adrenaline induced tension and perhaps even a little pre-stage apprehension. However, Mike, the lead guitarist, said he had played so many shows with other bands that he was fairly composed. It seemed to that the focus of their conscious minds were on the upcoming task at hand, they probably didn’t even know I was there. Not only was the band playing a world famous venue for the first time, but it was a trial, a test and perhaps even reckoning of sorts. John Owens was, in effect, being handed his father’s sword. In addition it was a trial by fire, it the show is up to the high standard of the Crystal Palace the act will go on to the world famous Buck Owens Birthday Bash next week, and if not the trip is over. This is a lot of pressure by anyone’s standards.

Above; Buck-Shot just before the show, on the back lawn of the Crystal Palace.

I took a couple photos during the pre-show ritual on the back lawn and then the band started heading west, following John like marching soldiers over the wooden planks of the boardwalk, boots clanking like the scene from “High Noon” with Gary Cooper. There is no sound as prepatory for a country music event as workin’ cow boots on the rustic wooden boards of the Palace walk. We walked at a fair gate toward the front door, a quick left turn and the large oak door with crystal glass was being held open by John Owens himself, until we all got inside.

John Owens holds the door open for band members and fans alike.

Once inside the foyer one sees a beautiful lacquered wooden floor, above is a giant mural of the dustbowl migration that fades into the work camp days of the Bakersfield sound and beyond.

The Crystal Palace Mural (above).

To the left of the front entrance is a full length glass case filled with historic memorabilia critiquing the live and amazing career of the father of the Bakersfield sound; Buck Owens. To the right is a full length of the room counter which houses the museum store and cashier. It is reminiscent of the old wooden bars from the old westerns and Bakersfield’s own “Black Board” days.
Walking in the direction of the bar/ concert hall we weaved through the forest- maize of renowned figures, like great pillars in an ancient palace, larger than life bronze statues adorn the front foyer and also into the front section of the concert all the way from Hank Sr. to Elvis. Once inside the wall are cover with well lighted glass museum cases and historic photos and memorabilia all with amazingly detailed western salon architecture, similar to Knott’s Berry Farm or Disneyland. Once inside John quickly turned to enter the back stage area, and poof, my camera flash went off in his face! Not only did he get a bad case of “retinal burn,” but I think I had got on his last nerve, so I backed off a bit.
The rest of the band headed to the back of the theater and took up positions on the rear lower bar. They mounted up on them bar stools like their favorite ponies and ordered a few frosty adult beverages and began the second of the pre-show rituals.

Buck Shot sits at the rear bar at the Palace for a pre-show ritual and strategic talk

A few minutes later they were joined by John. John had been briefed by those in the know and he briefed “da boys” as confidently as a combat officer in the trenches. He said, from here we go upstairs to the “Green Room, where we get ready for the show, looking slightly toward my direction, he said; “band member only!” I took this as my subtle hint to “exit stage right”, so I missed a lot of the pre-show chatter. But that’s show biz!

At this point in time I sat down with my wife and son and ordered my chow, I can’t understand why I don’t weigh over three hundred pounds…I love to eat. I ordered the house salad with honey mustard dressing; my son ordered the barbecue chicken pizza and my wife ordered the “Don Rich” steak with mashed potatoes. We also had the Dwight Yokum biscuits; with biscuits that good, how in the world did Dwight Yokum stay so thin! As always the Crystal Palace food and service was amazingly good.

Hank Ray eating his "Not just another dinner salad" my sons BBQ Pizza and mywifes Don Rich Steak.
GREAT CHOW!!!

As I finished up my last delectable tidbit of salad, the band was walking up onto the stage. They appeared as seasoned veterans and systematically took their perspective places on the platform, the platform that has showcased some of the best country acts in the world for over a decade. John Owens went up to the microphone, but it seemed like it was not yet connected quite yet. No one introduced the band but all of a sudden a country music hurricane came pouring down off the stage in to my face! A hunk of salad still dangling from my joules, I grabbed my camera and headed for the dance floor to obtain some images. I was busily taking photos and listening to the band so I was not positive of the set list, however these are last nights notes on my salad stained napkin; Act Naturally (Buck Owens), Folsom Prison Blues(Johnny Cash), Under Your Spell Again (Buck Owens), The More I Drink (Blake Shelton), Streets of Bakersfield (Buck Owens- Written by Homer Joy) and an encore of the Buck Owens classic, My Heart Skips A Beat. The set was filled with energy and the air was filled with flashing colored lights from above the stage. Mike Martin and David Allen entrenched themselves into a guitar laden duel, like true guitar slingers or battling warriors at the palace walls.
Mike and Dave, guitar slingers

In the fashion of 1970s guitar heroes like Johnny Winter or Ted Nugent they slashed a new path for up and coming country guitar pickers to emulate; Their Telecasters ablaze with blue and red stage lights flashing.

Buck Shot live at the Palace.

Jim Shaw from Buck Owens fame and Mark Yeary from Merle Haggard;giants in country music keyboard.

Buck Shot

After the electrifying performance Colby said that it was a dream realized; He had sat watching his father play on stage with Merle Haggard and giant venues, this was his turn and he and DD both said they had a great stage adrenaline rush.

The performance was a success and Buck Shot goes on to play at the Buck Owens Birthday Bash and on into country music history.

Posted by THE RESEARCH JO

Climbing thePalace Walls - Hankray's Blog - Bakersfield.com

KIM McAbee Of Bakersfield Sings A wonderful song

SEE DR. BLT MAKING HIS COUNTRY MUSIC RECORD..GREAT FILM!!! JUNE 2009

Clarence White and The Bakersfield Sound, What did Buck Say?

CLARENCE FROM WIKIPIDIA

"The Kentucky Colonels

The Byrds

[edit] Post-Byrds and death

[edit] Musical influence

BAKERSFIELD SOUND, MUSIC VIDEO

POST TRAMATIC STRESS DISORDER MUSIC VIDEO

My High School Crush is made into In A Hollywood Movie

giantの無料動画、無料動画が見つかる 世界中の動画からgiantの動画を探す ... GIANT ANTS, STEEL BAKERFIELD SOUND:

SCALING THE PALACE WALLS, BUCK SHOT'S FIRST SHOW AT THE CRYSTAL PALACE

Thursday, August 7, 2008

SCALING THE PALACE WALLS, BUCK SHOT'S FIRST SHOW AT THE CRYSTAL PALACE

giantの無料動画、無料動画が見つかる世界中の動画からgiantの動画を探す ... GIANT ANTS, STEEL BAKERFIELD SOUND: