The Unprecedented End

The past few months have been testing times for the band, especially since our last gig at the TSB. Formed sometime in 2008 and based upon our common love for the blues and rock music, the Bluestankers shared many great times and enjoyment of the same genres together. However, I must admit, the gravitation towards blues, in particular; Chicago, Texas, and Delta styles by yours truly lately, have somewhat shifted the paradigm of my other two band members out of the usual jamming circles.

Both band members have now chosen to become session players for other alternative music bands in their own rights, with gigging privileges (of course). While I am happy that they have expanded their repertoire of music outside of the usual mundane blues circuit that they are constantly subjected to :-), I'm also somewhat sad at the same time that the younger genre's appreciation and understanding of the blues music in the Klang Valley is constantly being overshadowed by heaps of other newer and more engaging modern music. I for one, am a fan of root music, which the blues is, for the American culture in modern history. I guess it takes some mellowing down to understand root music. It took me well into my 30s to understand that. I assume most will see the light at the end of the tunnel when they approach this age group as well. Fingers crossed!

Perhaps soul searching is every musician's right to do. One definitely cannot stop another fellow musician from pursuing his goals for his love of his choice of music. So, for Shahreza and Najip, I wish you both the best in your musical pursuits. It was enjoyable playing with you guys. You guys definitely have all the grooves and ingredients for commercial musical success. Maybe our destiny as a blues trio was not made to last, but hey, I sure enjoyed all the times we jammed and performed together. He, he, maybe we'll have a reunion sometime :-)... Keep on rockin' guys :-)

Well, enough of whining :-), the search for serious blues music members continues for 'The Terence Chong Blues Band'. Yup people, that's the new name for the latest band reincarnation. Interested drummers/percussionists, bassists, guitarists, vocalists can email me at thetcbb@gmail.com for the ice breaker.

Ok, back to some Lightning Hopkins... and some Sonny Boy Williamson...

Amplification Choice

1978 Fender Pro Reverb
Pro Reverb (Rear View) showing service dates
1978 Fender Twin Reverb
Front View (Twin Reverb)
Rear View (Twin Reverb)

My current amplification consists of two legendary American made valve amplifiers. Fender amps are my amps of choice these days; (I've also used Marshall, Laney, and Mesa/Boogie in the past) giving me the array of clean tones I'm particularly after, especially in the realms of Chicago blues / English blues domains.

I'll start with the Pro Reverb. I got this amp about 10-11 years ago from a local collector in PJ. Being a fresh graduate at that time, I lusted for vintage Fender amps after amassing a large collection of vintage electric guitars I had acquired from the States. After all, justice could only be done to these beautiful instruments when you pair them up with their 'old friends'.

Due to logistic and obvious reasons, one could not simply 'hand-carry' amplifiers as opposed to its six string cousins on long haul flights, yeah planes... Plus, the difference in North American voltages compared to the Asian voltages meant I had to always plug in a step-down transformer whenever I were to play through a US sourced amplifier. The hassle and all....Hence, the only way I reckoned, was to procure it locally. This I had to do, for the sake of the beloved instruments I brought in...

So I got it. The difference? Well, my ears could not really differentiate at that time (due to my nature of playing at that time; heavy distortion, 20 something alternative rock, etc. thru the Boogie amp). My desire of just wanting a vintage Fender amp really outweighed all other factors, seriously. It really sounded OK to me as an overly tone-insensitive player at that time. However, as the months and years passed by, I realised that the Boogie amp, while great and all that, was really more of a heavy rock/alternative music guitar amp. than anything else. The tones while thick and saturated, were often single dimensioned, largely due to the single 10" speaker configuration housed in a small enclosure. On the other hand, it's great for Santana stuffs, especially with humbuckers and solid bodies.

It is during this period that I played through the Pro Reverb more and more and slowly finding its character and persona. It was during this period too I was digging Eric Clapton's repertoire and gears in a fuller dimension. Gradually, the pieces all came together like a jigsaw puzzle... :-)

Well, I could go on and on.... To cut the long story short, if you love the blues and play electric guitar, you'll need a vintage Fender Stratocaster and a vintage Fender valve amp. There's no two ways about this. Well, you could opt for a vintage Gibson / Marshall / Boogie combination, but if you want clean and no-nonsense performance, nothing beats this combo. The purity of tone this setup gives you elevates your status and personality because it showcases your actual guitar playing and touch. Your tone and style is easily recognizable with this combination. Having said that, this setup is also very unforgiving, revealing any mistakes and shortfalls you may have and may embarass you in gigging situations if you're not up to it. Caution especially when using maple fingerboard Strats... Any mistake whatsoever will be instantly (i mean, literally the speed of sound) amplified.

For players who prefer the muddy tone zone, it is suggested that the humbucker / marshall / boogie combination be sought instead. Not that it is wrong to do otherwise, I guess it's a matter of choice and preference. The Pro Reverb I have is a 70 watts RMS model with two 6L6 power tubes supplying enough juice for the many gigs to come. With a moderate power section, it overdrives pretty easily, especially with a Master Volume control and even easier if you own a humbucker equipped axe like the Gibson Les Paul, 335, or a PRS Custom 22. Simply because, they pickups are often hotter and higher output than a single coiled bell tone Strat pickup.

Some years later, I got hold of a Twin Reverb amp. In similar chassis and footprint with the Pro Reverb, this amp is however, a totally different animal altogether. For one, it's more powerful; 135 watts RMS with four 6L6 power tubes through 2 12" Fender speakers. With the additional power it has, the top end of the tone frequency seem to shine more than the Pro Reverb. The shimmers I get especially with George L cables and a Stratocaster through this amp is really satisfying. The reverb..... man.... is really great too, like halls in concert. With my EC strat, I could get real clean sounds with the TBX fully open, and with the 25db boost of the EC's active circuit, the sound suddenly becomes mid apparent 'Marshall' like. So, it's best of both worlds with this amp. Highly recommended for versatility and robustness.

Sadly, this amp is just TOO fine, I'm trying not to gig with it so often... but heck, you only live once :-) What say you? Ha Ha

Strats Rule!

Indeed they do. Here's my collection to date (L-R: 1966, 1974, 1978, and 2008 Eric Clapton CS)

Despite being the same models, all of them vary individually in feel, tone, and playability. I guess that's the great thing about these guitars; they feel very personal and sometimes conjure up soul (think blues music and how you treat 'em). The various features of Stratocasters are also interesting to tell. The evolution of these fine instruments from day one till today showcase many fine engineering feats and most of these features have outlived many other brands and makes of guitars today (and I reckon, many many years ahead as well). The Stratocaster's design indeed, is one of the most future proof designs ever substantiated. Goes to show that good practical ideas are hard to beat and are here to stay. It further cements my view on "doing it right the first time" much alike automotive engineering principles. A big thank you goes to the legendary and late Leo Fender, creator of the Fender Stratocaster.

I'd like to share the many different traits of my Strats as I favour them:

(a) 1966 - Light, resonant alder body with a remaining 2-tone sunburst finish. Apparently, the red layer (3rd tone) was to have faded away to due to UV exposure over the last 42 years of existence in this planet. Got a medium U-shaped neck stamped "13 JUN 66B" which is fast yet comfortable. Mine has been refretted with jumbo frets. The bridge pickup reminds me a lot of the Albert King bending tone. This characteristic has to be the hallmark of this guitar. I mostly pickup this guitar if I want that particular tone exclusively. Great CBS era axe.

(b) 1974 - The rawest Strat tone of them all, possibly the lightest body among the other Strats here as well. Finish is fair, as you can see from the photo. Definitely a player's guitar with good tone and playability. The original owner(s) were probably profesionnal musicians in their own rights. This guitar looks and feels like it's been played and loved all these years in a pub or something. Twang factor is mild, but present. Great for all the Hendrix era tunes. All pickups from this axe have the "70s"vibes; well obviously eh :-) . My current favourite vintage Strat.

(c) 1978 - Huge baseball maple neck on this swamp ash body guitar. Classic maple Strat sounds and a great utlitarian more than anything else in the collection. 5 way switch brings out the best in this medium weight Stratocaster. The finish on this guitar is quite good, considering her age. Clear finish appears to have been stripped off from the neck by previous owner., leaving only a faint of original clear on the headstock covering the decals. Other than that and a refret, she's all original from 1978. Nice twang factor especially on the in-between pickup selections.

(d) 2008 EC CS - My current jam / gig guitar. Very versatile; active electronics ,25db mid boost, and a TBX control. Very nice soft "V" neck with mild satin finish. Goes from a traditional single coil twangy tone to a searing P90 and humbucker spectrum with just a turn of the tone knob (which activates the mid boost) Oh, an instant EC tone for sure :-). It says "Eric Clapton - Blackie" at the back of the headstock. Comes complete with a tweed case and case candies, oh, and the custom shop certification too. Very pleased with this purchase.

Next up, amplifiers and acoustic boxes... stay tuned.

World Music Day 21st June 2009

As part of The Bluestankers yearly residency at this fabled event organised by the Alliance Francaise Malaysia chapter, we played at happening Telawi Street Bistro's Timeout KL Stage last night. Set in a bar atmosphere, I would say this year's sound and equipment setup is much much better compared to the open air concept of the yesteryear events. Firstly, being indoor keeps the music levels and dynamics intact, and the PA easier to control too. The turnout was pretty good, mostly college kids, some 30 somethings and expats were also within the crowd. Our setlist was among the odd ones as we were kinda traditional compared to the rest. TJ is the new addition for rhythm guitars to our outfit with both Shah and Jeeby manning the bass and drums respectively. Great playing from all members. Especially intense on the classic Cream tunes... TJ you were excellent on the rhythm chops for a start, Shah the bass stomper as usual sounding very well on the left handed Fender bass thru a Hartke amp :-), Jeeby played his heart out as usual, without missing a beat, even though the ambience was quite noisy. Thanks to Rizal Ross for being there and blackberrying our performance the entire evening. Also to my mentee Justin and his dad 'Jacky' for being the official photographer and videographer 2 years in the running! I really appreciate it Justin... Warm regards to your ever sporting dad man too! How lucky you are! Thank you again for the medias provided! Ha Ha... Here's the complete 30 min set list:

1. Strange Brew
2. Born Under A Bad Sign
3. Outside Woman Blues
4. Driftin' (shuffle)
5. Crossroads Blues

The complete line up:

Time Out KL Stage @ Telawi Street Bistro

6pm: Bus Company (pop/rock)

6:30pm: Bluestankers (blues/rock)

7:00pm: An honest mistake (emo pop)

7:40pm: Army of Three (rock)

8:10pm: Tony Leo Selvaraj (alternative funk)

8:40pm: The Metaphor (rock)

9:10pm: Pasca Tragedy (symphonic metal)

9:40pm: Minotaur & The Labyrinth (pop/rock)

10:10pm: The Padangs (metal)

10:40pm: The Textbooks (pop/rock)

11:10pm: Mustard (indie rock)

11:30pm: Unexpected Mercy (metal)

For a more in depth write up on the event, click here :-)

Eric Clapton and Band At The Royal Albert Hall, London UK, 17th May 2009

Nice tour poster
The ticket for tonight
In front of the hall
Souvenir booth
Promo section of the hall
Mrs. inside the hall
Yours truly seated
Lee Dickson tunes up EC's Gibson L-5 CES
Our shot of the hall
Charlie Sexton pumps up with the Arc Angels
Lee doing the final tests before his boss walks in
8:30pm Sharp, EC walks right in!
"Going down slow"
Ferrari grigio silverstone fender stratocaster customshop guitar
Attentive listening by the soldout crowd
Sitdown set with martin 000-28EC acoustic model
"Somewhere over the rainbow" - Gibson L5 CES
Enjoying every moment
The customary bow by the band
After the band left: on my background, the stage
Sharon White leaving the hall
A memorable photograph with Michelle John; fantastic backup vocals

The missus and I had the rare opportunity to watch Eric and his band at the prestigious Royal Albert Hall last Sunday in London, UK. After an enduring 12 hr journey from Kuala Lumpur , we finally touched down at Heathrow on 14th May. The euphoria waiting months for this is finally over. The experience of being in this hall itself is extremely wonderful. So many great bands played there, and to my surprise, it isn't really a big venue often perceived via the many concert DVDs in my possession. I would say it is perfect for a band to showcase its music and tonality as the hall captures the essence of great acoustics thanks to its fabulous design right from the start (19th century?) Chords and notes reverberate to a pleasing and soothing decay, like my silverface 1978 Fender twin reverb amp at setting 3.

Eric and his band came in at 8:30pm sharp after the Arc Angels had opened for them 40 mins earlier on. Spotting a longer than usual haircut and with compulsory beard, Eric still looked fit and good for his 60+ age. They started the ball rolling with the song "Going Down Slow" from the Pilgrim album. It instantly reminded me on how consistent Eric's tone is. Recalling the many DVDs of Eric's concert I have, clearly his playing tonight is testament to his own saying of "playing at my front hall" and feeling comfortable in front of his home crowd. Often, he nailed solos note for note with great fire and passion. Seeing him play with eyes closed, body bent backwards reminded me of his Cream and Derek & The Dominos days and does make me feel as though I am in nirvana.... indeed I am! :-D

My favorite tune of the entire evening has to be "Old Love" from the Journeyman album. Note for note again, and entire band played very well. From intro to end, Eric's solos were all emotional and full of soul. Tim Carmon's organ solo was also worth mentioning. Chris Stainton was very accurate on the digital piano as well. For the record, Eric only played the Ferrari Grigio Silverstone Fender Stratocaster tonight (usually the Daphne blue one or alternating) , the Martin 000-28EC for "Layla", the chessnut "Lay Down Sally" and Bob Dylan's haunting "Not Dark Yet". He also used a vintage natural Gibson L5 CES for "Anytime For You" and for the Wizard of Oz's "Somewhere Over The Rainbow". Throughout the set, Eric looked very relaxed and even sounded very spontaneous at times... directing the band with his speech audible to the packed audience.

Twice also, EC stopped between solos of Tim and/or Chris to take a sip of drink and for a chance to remove his wire thin framed glasses to wipe his face. I guess it must have been from the heat of the spot lights as the hall itself was well air conditioned and ventilated.

The rest of the set for the evening came in the form regimental blues tunes such as "Little Queen Of Spades", in tribute to his hero Robert Johnson, and Bo Didley's masterful composition "Before You Accuse Me". Typical EC regulars like "Cocaine", "Wonderful Tonight", and the encore "Crossroads" finished the show in typical Clapton fashion: a big bang!

After the show, I went closer to the stage to try to catch Lee Dickson, but unfortunately he had carted away Eric's guitars into the backstage and was nowhere to be seen nearby. Security was also very nervous there... Absolutely no photographs! I did manage to spot a tweed customshop 57 Fender Twin amp on stage and also a quick glimpse of Lee's workbench. Nice red indian sticker on it! If I'm not wrong, also spotted a bench type Peterson strobe tuner that Lee proudly proclaims as the world's best tuner available.

We then proceeded to the Stage Door where we were surprised to see many people of different nationalities (by their lingo) mingling around all with hopes of catching Eric coming out from the hall and signing autographs for them. I think we waited for around 30 -45 minutes there, and casual chatting with the driver for one of the backup singers (Michelle John) revealed that one can never catch Eric publicly outside the Albert hall during concerts as he has access to a secret driveway into the hall's car park. And from there he goes straight to his dressing room and vice versa. Soon we realized that Eric had driven back to Woking, Surrey just 1 minute after the show, in his silver Porsche. Disappointment.... Neverthelss, we managed to spot and photograph Michelle and Sharon White whose cars waited patiently for them outside. Nice people both of them. I wish Eric and the rest of the band members could have done the same.

We hopped on a London cab at midnight to Sussex Place and proceeded on to supper after a night of great entertainment :-) The next morning we visited Chelsea and stopped by EC's home on Old Church St. No surprises, he wasn't there.

Set List for 17 May 2009 / Royal Albert Hall, London UK

01. Going Down Slow
02. Anything For Your Love
03. Key To The Highway
04. Old Love
05. I Shot The Sheriff
06. Layla - acoustic
07. Lay Down Sally
08. Not Dark Yet
09. Anytime For You
10. Somewhere Over The Rainbow
11. Badge
12. Little Queen of Spades
13. Before You Accuse Me
14. Wonderful Tonight
15. Cocaine
16. Crossroads (encore)

Band Lineup:
Eric Clapton - guitar, vocals
Andy Fairweather Low - guitar
Chris Stainton - keyboards
Tim Carmon - keyboards
Willie Weeks - bass
Steve Gadd - drums
Michelle John - backing vocals
Sharon White - backing vocals