HDTenEightyP/NetNews huggingface dataset:
From: soh@gdstech.grumman.com (Scott O'Hare)
Subject: Re: Travis Bean?
Reply-To: soh@gdstech.UUCP (Scott O'Hare)
Organization: Grumman Data Systems-Woodbury
Date: Tue, 12 Jan 1993 15:11:16 GMT

In article <alexa-110193084709@147.202.16.3> alexa@county.lmt.mn.org (Alex Alexander) writes:
>Can someone tell me what a Travis Bean is? Is it a slide guitar? Is it a
>really high quality one? Who the heck was Travis Bean?
>

Travis Bean was a line of guitars and bases produced mostly in the seventies.
Their most outstanding feature was an aluminum neck-through construction. The
guitars had two humbuckers with vol+tone for each, and a 3-way toggle. The one
I owned (serial number #136) had a wide fretboard which was perfectly flat. 

The guitar was manufactured (marketed?) by a group called Rothschild instruments,
and was endorsed at one time by Jerry Garcia, who called it "The best damn 
production guitar on the market". Kramer imitated the Aluminum neck concept 
for awhile, and manufactured a bunch of fancier looking instruments equipped
with DiMarzios. In the eighties, a finger-tapping Jazz guitar prodigy named
Stanley Jordan recorded a couple albums on Blue Note, using Travis Beans 
exclusively (he later migrated to MIDI guitar and other exotica). In fact, 
I sold mine to a Stanley Jordan sound-alike named Larry Wood, who 
immediately removed the rhythm pickup "for better body resonance".
The guitars have a bright, bell-like tone.

Detractors of the instrument claimed it was sensitive to temperature changes and
went out of tune easily. Travis Bean aficionados claim its loss of popularity
followed its highly visible endorsement by bozo acts such as Kiss and The
Knack. As for who Travis Bean actually WAS, your guess is as good as mine.
-- 
---------------------------------------------------------------------
- Scott O'Hare (soh@gdstech.grumman.com)                            -
---------------------------------------------------------------------
Newsgroups: rec.music.makers.guitar
From: META000 <META@UNB.CA>
Subject: RE: Travis Bean?
Organization: The University of New Brunswick
Date: Tue, 12 Jan 1993 19:22:07 GMT

In article <alexa-110193084709@147.202.16.3> alexa@county.lmt.mn.org (Alex Alexander) writes:
>Can someone tell me what a Travis Bean is? Is it a slide guitar? Is it a
>really high quality one? Who the heck was Travis Bean?
>
Travis Bean is a real person, and produced one of the first, if not
THE first aluminum neck electric guitar, during the mid to late 70's
(give or take a few years).  Assorted notables played them,
including Jerry Garcia.  I tried one once, around 1976, and was
impressed with its' playability and sustain.  The problem with the
Travis Bean was the weight, and especially the thermal qualities of
the neck when played outdoors.  That SOB could get very cold.
Apparently Bean added a wood veneer in later models, so as to reduce
the temperature factor.  A number of other companies, Kramer,
Veleno, Ovation, experimented with aluminum necks, and although they
sounded great in theory (no warping, no carving, no waste, no
bizarre resonances, etc.), for some reason, they just never caught
on.  In the grand evolutionary struggle for the survival of guitar
species, somehow everything kept coming back to wood, both for necks
and bodies.  While alternate materials like aluminum, plexiglass,
carbon fibre, graphite, fibreglass, assorted plastics, and particle
board have all put in appearances, for some reason we always go back
to materials that have to be individually shaped, rather than cast
or molded.  I should mention that all of these materials still exist
in production models here and there, but nowhere near the quantities
that one would expect of materials that are the multinational's
dream come true.

My guess is that, if you see one, you can probably expect to pay no
more than $400 for a Travis Bean, and probably less.  They are
semi-collectible, for purposes of documenting guitar history, but
most really collectible guitars represent some rare constellation of
quality control and counter-intuitive use of components/design.  An
aluminum guitar automatically has quality control built in by the
manufacturing process to some degree, so "hot" years for the Travis
Bean don't exist.  Moreover, the electronic aspect was uninspiring;
2 humbuckers, and dual volume/tone controls.

Mark Hammer

Newsgroups: rec.music.makers.guitar
From: pkor@phoenix.oulu.fi (Pasi Korhonen)
Subject: Re: Identifying the production year of a Martin guitar.
Organization: Ripoff iNdustries
X-Newsreader: TIN [version 1.1 PL6]
Date: Thu, 7 Jan 1993 18:23:10 GMT

Bruce Daugherty (daugherb@b8.b8.ingr.com) wrote:

: **   Pasi,  You are correct, Martin # 406845 was made in 1978.
: **
: **                                    *Loose Bruce*

	Thanks, Bruce ! But isn't it like, Mike Longworth is correct ?
	Extremely lucky dude, working for The Company. :-)


	Pasi

--
 p a s i   k o r h o n e n             p k o r @ p h o e n i x . o u l u . f i


 saaristonkatu 3 A 6      90100 oulu     finland,europe     tel:358-81-377 81
From: vikram@bits.Eng.Sun.COM (Vikram)
Newsgroups: rec.music.makers.guitar
Subject: guitar for sale
Date: 13 Jan 1993 00:50:18 GMT
Organization: Sun Microsystems, Inc.
Distribution: world
Reply-To: vikram@bits.Eng.Sun.COM
NNTP-Posting-Host: bits

I am posting this for a friend who has this electric guitar for sale.

	Make: Antares

	2 pickups with individual volume controls, 3 tone selector,
	strat-style model, Japanese made.

	The guitar is in an excellent condition, though it could do with
	a new scratch plate.

	Asking $250 with hardcase (in excellent condition also) included.
	Make an offer, my friend Mike who owns the guitar is moving
	to the east coast and wants to sell it before leaving.
	Call Mike at (415)355-8211.

Newsgroups: rec.music.makers.guitar.tablature
From: wags@cimage.com (Bill Wagner /10000)
Subject: Re: REQUEST: Eric Clapton: "Tears in Heaven"
Reply-To: wags@cimage.com (Bill Wagner)
Organization: Cimage Corporation
Date: Tue, 12 Jan 93 14:56:05 GMT

In article <1993Jan11.120622.6782@lmpsbbs.comm.mot.com>, paulk@ecs.comm.mot.com (Paul Kuban) writes:
|> 
|>   Can someone please post the TAB for "Tears in Heaven"?
|> (I can't ftp from here.)
|> 
|>  Thanks, Paul K


Tears In Heaven
Eric Clapton

Verse:
| A       E/G#    |F#m  A| D   A      | E     |
Would you know my name   if I saw you in Heaven


| A       E/G#    |F#m  A| D   A      | E     |
Would it be the same     if I saw you in Heaven

Chorus:
| F#m      |  C#/E#   | Em      | F#   |
  I must be strong     and carry on

|       Bm          |E7sus E7      | A   E/G# |
Cause I know I don't belong here in heaven

         | F#m  A | D  E7sus E7|  A  |



Bridge:
| C       G/B     | Am              D       |  G   D | Em   D G |
Time can bring you down   Time can bend your knees

| C       G/B     | Am              D     |  G       D   | E    |
Time can break your heart  Have you beggin  please beggin please



-- 
-------------
          Bill Wagner                USPS net: Cimage Corporation
Internet: wags@cimage.com                      3885 Research Park Dr.
AT&Tnet:  (313)-761-6523                       Ann Arbor MI 48108
FaxNet:   (313)-761-6551

"One should be able to see that things are hopeless, and yet be 
determined to make them otherwise."  - F. Scott Fitzgerald
From: lka@cs.bham.ac.uk (Leonard Aye)
Newsgroups: rec.music.makers.guitar.tablature
Subject: Re: The Road to hell by Chris Rea
Date: 11 Jan 93 17:41:44 GMT
Reply-To: L.Aye@cs.bham.ac.uk
Organization: School of Computer Science, Birmingham University, U.K.


Just a minor correction:

The original chord sequence is like this: Am Dm F E Am
						^
					This should be Fmaj7,
according to the song book.

That's all.

Len Aye
	
-- 
----------------------------------------------------------------------------
Leonard Kyaw Soe Aung Aye
School of Computer Science, The University of Birmingham, Edgbaston,
Birmingham, West Midlands B15 2TT, England, UK. Tel: +44 21-414-3705
From: oldp@grug06.nor.chevron.com (Lawrence Perry)
Newsgroups: rec.music.makers.guitar.tablature
Subject: AINT MISBEHAVIN
Date: 6 Jan 93 00:02:28 GMT
Organization: Chevron


 





                      AIN'T MISBEHAVIN'

        C         Gdim        Dm         Adim
       	NO ONE TO TALK WITH    ALL BY MYSELF
         C        Cdim                 F           Fm
	NO ONE TO WALK WITH    BUT I'M HAPPY ON A SHELF
         C        Gdim          Dm7      G        C  Adim  Dm7  G
	AIN'T MISBEHAVIN   I'M SAVIN MY LOVE FOR YOU


	I KNOW FOR CERTAIN    THE ONE I LOVE
	I'M THROUGH WITH FLIRTIN  IT'S YOU I'M THINKING OF
	AIN'T MISBEHAVIN   I'M SAVIN MY LOVE FOR YOU


	 C Adim Dm7 E7  BRIDGE

          Am                F
	LIKE JACK HORNER    IN THE CORNER
           D7                 A7
	I DON'T GO NOWHERE   WHAT DO I CARE
         G               A7    D7     G    A7   D7    G7            
	YOUR KISSES ARE WORTH WAITIN FOR   BE- LIEVE  ME

	I DON'T STAY OUT LATE    'T CARE TO GO 
	I'M HOME ABOUT EIGHT     JUST ME AND MY RADIO
	AIN'T MISBEHAVIN   I'M SAVIN MY LOVE FOROU
From: oldp@grug06.nor.chevron.com (Lawrence Perry)
Newsgroups: rec.music.makers.guitar.tablature
Subject: Let Me Be There
Date: 6 Jan 93 23:50:40 GMT
Organization: Chevron







                               LET ME BE THERE


                             D                     G              D
		WHEREVER YOU GO. WHEREVER YOU MAY WANDER IN YOUR LIFE.
                            D                        A
		SURELY YOU KNOW, I'LL ALWAYS WANT TO BE THERE.
                              D  D7                     G                 D
		HOLDING YOUR HAND, AND STANDING BY TO CATCH YOU WHEN YOU FALL.
                              D     A                   D
		SEEING YOU THROUGH    IN EVERYTHING YOU DO.
           

                        D                               G
	CHR:    LET ME BE THERE IN YOUR MORNING; LET ME BE THERE IN YOUR NIGHT
                         D                                   E       A
		LET ME CHANGE WHATEVER'S WRONG AND MAKE IT RIGHT.
                         D               D7              G  
		LET ME TAKE YOU TO THAT WONDERLAND THAT ONLY TWO CAN SHARE.
                       D       A                 D  
		ALL I ASK YOU     IS LET ME BE THERE.


                               D                            G              D
		WATCHING YOU GROW, AND GOING THROUGH THE CHANGES IN YOUR LIFE.
                              D                        A
		THAT'S HOW I KNOW, I'LL ALWAYS WANT TO BE THERE.
                              D  D7                        G             D 
		WHENEVER YOU FEEL   YOU NEED A FRIEND TO LEAN ON, HERE I AM.
                              D   A                    D 
		WHENEVER YOU CALL,  YOU KNOW I'LL BE THERE.


                CHORUS

                G           D  A                D
                 ALL I ASK YOU   IS LET ME BE THERE.
Newsgroups: rec.music.makers.guitar.tablature,alt.guitar.tab
From: oldp@grug06.nor.chevron.com (Lawrence Perry)
Newsgroups: rec.music.makers.guitar.tablature
Subject: ANYTIMe
Date: 6 Jan 93 00:11:56 GMT
Organization: Chevron














				ANYTIME


                     A7                 D7     
		ANYTIME YOU'RE FEELING LONELY 
                    G7                  C
		ANYTIME YOU'RE FEELING BLUE
                     F                 C
		ANYTIME YOU FEEL DOWN HEARTED
                           D7                        G7
		THAT WILL PROVE YOUR LOVE FOR ME IS TRUE


                    A7                  D7       
		ANYTIME YOU THINK ABOUT ME
                            G                       E7
		THAT'S THE TIME I'LL BE THINKING OF YOU
                     A7                 D7   
		ANYTIME YOU SAY YOU'LL TAKE ME BACK AGAIN
                            G7                             C
		THAT'S THE TIME I'LL COME RUNNING BACK TO YOU
Newsgroups: rec.music.makers.guitar.tablature
From: chaz@vicorp.com (Charlie Hileman)
Subject: chord pro - what is it?
Organization: V. I. Corporation, Northampton, Massachusetts
Distribution: usa
Date: Tue, 5 Jan 1993 14:37:16 GMT

I keep seeing messages in "Chord Pro".  What exactly is this format?
Is there some software that will run this?

Uninformed and curious...

	--Charlie Hileman			ARPA:  chaz@vicorp.com
	  V. I. Corporation			UUCP:  uunet!vicorp!chaz
	  Northampton, Massachusetts
From: stevep@snowhite.cis.uoguelph.ca (Steve Portigal)
Newsgroups: rec.music.makers.guitar.tablature
Subject: Re: CULT - Love Removal Machine
Date: 9 Jan 1993 11:26:53 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

  From: rons@quads.uchicago.edu (Josh Ronsen)
  Subject: TAB: Love Removal Machine
  Message-ID: <1992Dec14.194321.26040@midway.uchicago.edu>
  Date: Mon, 14 Dec 1992 19:43:21 GMT
  
  
  Love Removal Machine
  by the Cult
  
  
  intro:
    D			   C	   G
  e---------------------------------------------------
  B-7-7-8---7-7-8-8-7-7-8-8--5-5-6-6--3-3-3-------------
  G-7-7-7---7-7-7-7-7-7-7-7--5-5-5-5--4-4-4-------------
  D-7-7-7---7-7-7-7-7-7-7-7--5-5-5-5--5-5-5-------------
  A-5-5-5---5-5-5-5-5-5-5-5--3-3-3-3--5-5-5-------------
  E-----------------------------------3-3-3-------------
  
  [repeat 4 times]
  
  verse:
  
    There she was in the red room 'cause she was there: uh-huh!
    D		      C				G
  e------------------------------------------------------
  B-7-7-8---------------5-5-6-6------------------3-3--3--
  G-7-7-7---------------5-5-5-5------------------4-4--4--
  D-7-7-7---------------5-5-5-5------------------5-5--5--
  A-5-5-5---------------3-3-3-3------------------5-5--5--
  E----------------------------------------------3-3--3--
  
  [repeat, then play intro twice]
  
  chorus:
    Talkin bout Love... Love Removal Machine...
    D C D		      D C G
  e-------------------------------------------
  B-7-5-7---------------7-5-3-----------------
  G-7-5-7---------------7-5-4-----------------
  D-7-5-7-----0-3b(5)-0-7-5-5-----------------
  A-5-3-5-0-3-----------5-3-5---5-5-5-5-5-----
  E-------------------------3-0-3-0-3-0-3-----
  
  [repeat 4 times]
  
  [then repeat intro, verse, chorus with words, and then solo is over the
  verse part, which jumps to F G, I think, and then chorus. hint: solo is mostly if not all Dminor pentatonic]
  
  end: ("Look out here she comes...")
  
  D C D C G C repeat mucho
  
  As for the lyrics you are on your own. The first time I heard this
  (years ago!) my best friend and I were sure that he was singing
  "Saltshaker" in the chorus...
  
 +-------------------------------------------------------------+
 |  Steve Portigal  University of Guelph  Guelph, Ontario      |
 |  stevep@snowhite.cis.uoguelph.ca (519) 824-4120 x 3580      |
 |  Vicki Lawrence must DIE! Vicki Lawrence must DIE!          |
 +-------------------------------------------------------------+
Newsgroups: rec.music.makers.guitar.tablature
From: soh@gdstech.grumman.com (Scott O'Hare)
Subject: Re: REQ: Walk don't Run by the Ventures
Reply-To: soh@gdstech.UUCP (Scott O'Hare)
Organization: Grumman Data Systems-Woodbury
Date: Fri, 8 Jan 1993 21:30:47 GMT

In article <5JAN93.14472457@skyfox> holtslander@skyfox writes:
>Does anyone have the tab to the ultimate surf song Walk Don't Run
>by the Ventures.  I would love to have it.

I know this song cold & would love to share it with you, but entering tab 
on an ascii terminal would take me all day!! Is there an easy way to do this?

soh

-- 
---------------------------------------------------------------------
- Scott O'Hare (soh@gdstech.grumman.com)                            -
---------------------------------------------------------------------
From: share@us.oracle.com
Newsgroups: rec.music.makers.guitar.tablature
Subject: Re: Son of a Son of a Sailor Lyrics (Jimmy Buffet)
Date: 7 Jan 93 19:11:05 GMT
Organization: Oracle Corporation, USA
X-Disclaimer: This message was written by an unauthenticated user
              at Oracle Corporation.  The opinions expressed are those
              of the user and not necessarily those of Oracle.

In article <tomc.726324999@rlxdev>, tomc@modcomp.uucp (Tom Cianflone) writes:

> And the lady she hails from Trinidad, I learned of her spices
> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
  And the lady she hails from Trinidad,	island of the spices

> Salt grey your meat and cinnimon sweet and the rum...
> ^^^^^^^^^^^^^^^^^^^
  Sultry and neat    (maybe?)

> All that she did as we ride on the wind that our...
> ^^^^^^^^^^^^^^^^
  Haul the sheet in



This is how I know it...
Of course, that doesn't mean it's correct.

Steve
Newsgroups: rec.music.makers.guitar.tablature
From: ajm@iconix.oz.au (Andrew Mack)
Subject: TAB: Born under a bad sign
Organization: ICONIX Corporation World Headquarters
Date: Mon, 11 Jan 1993 01:20:05 GMT

Albert King version:

"Born under a bad sign ..."
-----------------------------------------------------------------------
-----------------------------------------------------------------------
-----------------------------------------------------------------------
----------2-------------------------2----------------------------------
------2-4---4-------2---4-------2-4---4-------2---4--------------------
--2-4-----------2-4---0-----2-4-----------2-4---0----------------------


"If it wasn't for bad luck ..."
----------------------------------------------------------------------
----------------------------------------------------------------------
----------------------------------------------------------------------
-----------------------------------2----------------------------------
------------------------4------2-4---4--------------------------------
--1-2-3-4-4-4-3-2-2-2-0----2-4----------------------------------------


"Hard luck and trouble's ..."
----------------------------------------------------------------------
----------------------------------------------------------------------
----------------------------------------------------------------------
---------------------------------------------------------2------------
------2-2-4-------2-2-4------2-2-4-------2-2-4-------2-4---4-etc------
--2-4---------2-4---------2-4--------2-4---------2-4------------------


Cream version:

"Born under a bad sign ..."
------------------------------------------------------------------------
------------------------------------------------------------------------
----------3-------------------------3-----------------------------------
------3-5---5-------3-----------3-5---5-------3-------------------------
--3-5-----------3-5---------3-5-----------3-5---------------------------
----------------------6-3-----------------------6-3---------------------

"If it wasn't for bad luck ..."
----------------------------------------------------------------------
----------------------------------------------------------------------
----------5-5-6-5-4-3-3---------------------3-------------------------
----------4-4-5-4-3-2-2-----------------3-5---5-----------------------
--2-3-4-5-5-5-6-5-4-3-3-3-5---3-----3-5-------------------------------
----------------------------6---3-------------------------------------

"Hard luck and trouble's ..."
-------------------------------------------------------------------
-------------------------------------------------------------------
----------------------------------------------------------3--------
------3-3-5-------3-3-5-------3-3-5-------3-3-5-------3-5---5-etc--
--3-5---------3-5---------3-5---------3-5---------3-5--------------
-------------------------------------------------------------------
From: oldp@grug06.nor.chevron.com (Lawrence Perry)
Newsgroups: rec.music.makers.guitar.tablature
Subject: somedays are diamonds
Date: 8 Jan 93 00:18:02 GMT
Organization: Chevron





                             SOMEDAYS ARE DIAMONDS

		G / / /   Gsus / / /   G / / /   Gsus / / / ETC.

		           G              D           Em
		WHEN YOU ASKED HOW I'VE BEEN HERE WITHOUT YOU,
		           C             C           G
		I LIKE TO SAY I'VE BEEN FINE, AND I DO.
		         C                              G
		BUT WE BOTH KNOW THE TRUTH IS HARD TO COME BY,
		      Em            A9                      D
		AND IF I TOLD THE TRUTH, THAT'S NOT QUITE TRUE.


		              G       C               G
	CHR:    SOMEDAYS ARE DIAMONDS; SOMEDAYS ARE STONE.
		               Em       A9                 D
		SOMETIMES THE HARD TIMES  WON'T LEAVE ME ALONE.
		              G      C                      G   Em  
		SOMETIMES A COLD WIND BLOWS A CHILL IN MY BONES.
		  C           G        D
		SOMEDAYS ARE DIAMONDS;
              		        G/B     C  C#dim   G/D   D7
                SOMEDAYS ARE STONE///  //   //    ////  ////

		G / / /   Gsus / / /   G / / /  ETC.

		         G           D         Em
		NOW THE FACE THAT I SEE IN THE MIRROR
		          C                    G
		MORE AND MORE IS A STRANGER TO ME.
		          C                        G
		MORE AND MORE I CAN SEE THERE'S A DANGER
	              Em           A9                 D 
		IN BECOMING WHAT I NEVER THOUGHT I'D BE.


                CHORUS:
		(LAST LINE)    (D)              G       D    A    E    
			        SOMEDAYS ARE STONE/// //// //// ////

		              A       D               A 
	CHR:    SOMEDAYS ARE DIAMONDS; SOMEDAYS ARE STONE.
		               F#m      B9                 E
		SOMETIMES THE HARD TIMES  WON'T LEAVE ME ALONE.
		             A       D                      A   F#m  
		SOMETIMES A COLD WIND BLOWS A CHILL IN MY BONES.
		  D           A       E                A
		SOMEDAYS ARE DIAMONDS;  SOMEDAYS ARE STONE.


		REPEAT AND THEN FADE OUT ON :
                                             A / / /   Asus / / /  etc
From: oldp@grug06.nor.chevron.com (Lawrence Perry)
Newsgroups: rec.music.makers.guitar.tablature
Subject: CRD:Gypsy Rover (Author unknown)
Date: 12 Jan 93 23:58:05 GMT
Organization: Chevron




                               THE GYPSY ROVER


	

		G      D         G       D
	CHR:    AH DEE DO AH DEE DO DAH DAY.
		G      D         G   D
		AH DEE DO AH DEE DAY DEE.
		     G              D             G           Em
		HE WHISTLED AND HE SANG TILL THE GREEN WOODS RANG,
		    G            C        G C G D
		AND HE WON THE HEART OF A LA-DY.


                    G      D         G         D
		THE GYPSY ROVER CAME OVER THE HILL
		 G                D        G  D
		DOWN THROUGH THE VALLEY SO SHADY.
		     G              D              G          Em
		HE WHISTLED AND HE SANG TILL THE GREEN WOODS RANG,
		    G            C        G C G D
		AND HE WON THE HEART OF A LA-DY.

		CHORUS

		SHE LEFT HER FATHER'S CASTLE GATE.
		SHE LEFT HER OWN TRUE LOVER.
		SHE LEFT HER SERVANTS AND HER ESTATE.
		TO FOLLOW THE GYPSY ROVER.

		CHORUS

		HER FATHER SADDLED HIS FASTEST STEED.
		ROAMED THE VALLEY ALL OVER.
		HE SOUGHT HIS DAUGHTER AT GREAT SPEED.
		AND THE WHISTLIN' GYPSY ROVER.

		CHORUS

		HE CAME AT LAST TO A MANSION FINE
		DOWN BY THE RIVER CLADY.
		AND THERE WAS MUSIC AND THERE WAS WINE
		FOR THE GYPSY AND HIS LADY.

		CHORUS

		HE'S NO GYPSY FATHER SAID SHE
		BUT LORD OF FREE LANDS ALL OVER
		AND I WILL STAY TILL MY DYING DAY
		WITH MY WHISTLING GYPSY ROVER.

		CHORUS