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walter tore's spontobeat - Metal on Metal
walter tore's spontobeat - Metal on Metal
As I sit here typing these notes, I think back to the days when I slept on Louisiana Red’s couch in Long Island, NY. He would play his national steel for hours in that living room. I often fell asleep to his music, and when I woke up in the morning, he would be sleeping in his chair, with that guitar in his lap. He never gave me any real lessons except how to hold the slide, and when he would go out, I got to play his guitar. Those were very special days for me. Almost 3 decades have passed since then, and I finally feel like I am able to catch that groove he so effortlessly puts down.
Life is a wonderful journey, and I feel blessed for all the experiences music has provided me. I never know what is going to come out of my mouth or instruments, and as you listen to these songs, I hope they inspire you to reflect on your life. Who knows, I may be singing about you!
The Black Cat Mojo Guitar, was given to me by the owner of the Black Cat Lounge, Paul Sessoms. This guitar is handmade, and has a spell on it, and a set of written directions. I follow them to the letter, and believe it or not, it has predicted the Smiling With Hope Foundation, recording my own cds, and using the internet as a way to promote my music. Paul is dead, and the Black Cat Lounge has burned down. The only worldly link he has left to music is this guitar. Music was his whole life, and those who knew Paul can tell you how powerful this can be. The other guitar on this session is a1940 National Steel. I don’t consider myself a bluesman, just a musician. Society likes labels, and I surrender to it. Do good work, love yourself and all around you, and you will feel peace. I hope to meet you someday. Walter



P.S.: For those of you tht don't know it, I make up all of these songs as I go along, and record them with a sharp MD-7 mini disc and core sounds stereo mic.


The technique used to record all cds:

21st Century Field Recordings - All of Walter's music is recorded in the early 20th century field recording tradition. Adventurous men would pack their simple recording equipment in the back of their cars, drive into the deep south, to locate and record, in their homes, the musicians of that area. This is how most of the country came to learn about blues, folk, country, and Cajun music. These visionary men paved the way for the slick studio recordings we now take for granted.

Walter sticks to this recording concept by using only a mini disc recorder and a stereo microphone to record all his band and solo cds. Once they are recorded they are formatted to cd quality, and may get a slight touch of reverb, echo, and compression. It only takes about 2 minutes of production time to transform a mini disc recording to a finished cd.





   
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