Deak Harp

“He told me to stop playing harmonica with my lips … that’s what it is. When I worked for him, I’d have to do the soundchecks and he would be there standing by the soundboard in the middle of the venue and he’d be going, ‘Come, on … dig a little deeper. Come on!’ He would be working me to get that tone that I needed,” he said. “That’s how I learned to emulate James Cotton’s tone. He forced me … beat it into me, to get that tone. He called me more names – in a good way – to get me where he thought I needed to be. You know, I learned from James and he learned from Sonny Boy (Williamson), so I’m third generation, man.”

Just because he learned to blow like Cotton doesn’t mean that Deak sounds like James Cotton, even though he most definitely could. It’s by choice that Deak sounds like … well, like Deak.

“Cotton and William Clarke – who was another great mentor to me back in the ‘90s, would always say, ‘Deak, I’ll show you anything you want to learn about the blues and the business, but you’ve got to make your own name, your own music.’ That was some of the best advice I ever got,” he said. “I mean, I can sound like Cotton, but I don’t use any of his licks. If you listen to my records, you really don’t hear anybody else’s (licks) but mine. I’m not the fanciest harmonica player and I know that … but I do have my own thing goin’ on. The beauty of the harmonica is, you can take it in so many different directions and everybody can sound like themselves.”

Harmonica Chords

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Major Diatonic Chords:

Natural Minor Chords:

Melody Maker Chords:

Harmonic Minor Chords:

Einstürzende Neubauten ebook

Free download Einstürzende Neubauten ebook

This thesis represents the first comprehensive examination in English of the
work of the Berlin-based music collective, Einstürzende Neubauten. It intends
to offer evidence that the sonic forays of this group have not only defined a
particular cultural moment but have also created new musical possibilities (to
appropriate words from Brandon LaBelle). 1 It does this by investigating why
the work of these musicians is important within contemporary music, what
cultural concerns their music reflects and how the music is created, performed
and disseminated. These questions are explored through a range of contexts,
including post-war Berlin, Germany’s problematic relationship with music, the
development of Musique Concrète, Noise/Music and strategies for creative
independence. There is a detailed analysis of Neubauten’s performance and
textual techniques.

This thesis argues that Einstürzende Neubauten are one of the few examples
of ‘rock-based’ artists who have been able to sustain a breadth and depth of
work over a number of years while remaining experimental and open to
development; that their work offers evidence that they are one of the most
complete examples of Artaudian practice in contemporary performance and
that their Supporter Initiative (2002-2007) provided a unique working strategy
for independence of the consumerist model of music.