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Thank you 😎

Thank you 😎

Haha, okay. Thanks ✌🏻😎

I’d planned on doing a whole series of tutorial type videos, hoping there’d be an interest - or, at least, hoping that creating those videos would be a good experience for me, personally. I’d hoped to do a lot of things in the past 15 months. As it turned out, the insects inside my brain pulling the levers didn’t share those hopes. So now I just hope the world ends tonight. If you like this video, thank you. Thank you. 🙏🏻

Thank you 😎🙏🏻

😎🙏🏻 Thank you

There was such a short window, really, when southern rock really thrived - when it was mainstream, when it even got big in the UK. As a kid, I saw Blackfoot in Pittsburgh in ‘82 with Def Leppard opening for them. Unbelievable in retrospect. But by 1984, every one of those southern rock bands - EVERY ONE - was putting an album out with synthesizers and more pop-oriented songs, all while getting the shorter 80s spiky hair cuts and wearing the 80s fashion clothes. And I understand. The popularity of southern rock had fallen off a cliff as the mid-80s swept in. Mainstream people weren’t into that sound and they certainly weren’t interested in what had become their “dirty” 70s look. The record companies wanted clean bands with bright clothes and big hair playing booming synth rock music - and they were the bosses. It’s telling that every one of those southern rock pop albums these bands were forced to put out were commercial failures and, for some bands, were enough to collapse the entire group. Record companies didn’t understand the basic sociology of the marketplace: new wave 80s rock kids didn’t want those southern rock bands, even if they did add synths and change their appearance. But by trying to capture that market, most of them lost a lot of their loyal, old school fans who thought they’d all sold out. It was a no-win situation for all of us, the bands and the fans. And it never came back, that late 70s/early 80s style of heavy southern rock. It’s still a small, niche fan community of older people from back then mixed with some our children it’s been passed down to. And yeah, there are newer bands they call southern rock. I know. I’ve heard it. It’s okay. But it’s not “my” music, not really an extension of what I grew up with. It feels like it’s created and marketed at people younger than me, all that. ¯\_(0,o)_/¯

Thanks 😎🙏🏻 Yeah, the DJBB followed the Molly Hatchet songwriting template pretty closely, although I don't think they got the marketing and promotional push needed to really break though. Plus, from what I've read, DJB's health problems with diabetes limited the amount of touring he could do. Interestingly, the two longest-surviving members of Molly Hatchet's current 2024 incarnation were part of the Danny Joe Brown Band in 1981: John Galvin and Bobby Ingram. I think it went like this: DJB rejoined Molly Hatchet in 1982. John Galvin joined MH on keyboards in 1983 to replace guitarist Steve Holland, who'd left the band mid-tour. And in 1987, co-founder Dave Hlubek left MH and was replaced by Ingram.

The guitar sounds a lot like Hulbeck playing. This band was before MH??

@@charliethorntonbrotherstil2136 Well, during. As I understand it, DJB left Molly Hatchet at the end of the "Flirtin' with Disaster" tour in 1980. From what I've read, it was primarily due to diabetic problems that prevented him from maintaining their intense touring schedule. MH hired Jamie Farrar to replace him and released "Beatin' the Odds" later in 1980 and "Take No Prisoners" in 1981 with Farrar singing. DJB formed his own band (with three guitarists and a full-time keyboard player) and released one album in 1981. This song, "Beggar Man", lists Bobby Ingram as the songwriter, so I'd imagine he plays the lead part on it - although I don't really know. But Ingram's style *was* similar to Hlubek's. In late 1982, DJB returned to MH and they recorded the "No Guts, No Glory" album, which was released in '83. I don't know what became of the members of the Danny Joe Brown band after he rejoined MH, although - as mentioned above - we obviously do know that Galvin and Ingram from the DJBB would both join MH at different times later in the 1980s and remain there until this day. And, ya know, it went on from there, right? DJB stayed in MH until 1995, when his health problems compounded to the point where he couldn't continue.

@@charliethorntonbrotherstil2136 This is the first song - song one on side one - of the DJBB solo band record released in 1981. I mean, I thought it WAS Molly Hatchet when I first heard it back then. It sounds like a song that could've come straight off the "Flirtin' with Disaster" album: ruclips.net/video/lA-2GNAWBBI/видео.htmlsi=B8GXkpfVbdMODTeB

Thank you 😎🙏🏻

ONE MILLION DOLLARS. They were $126.50 each on the old Ticketmasters, plus around another $50-ish each for all their combined dumbass fees.

Thank you 😎 Yeah, I really like Explorers, even though I didn't ever play or own one until I was older. They have such great balance and feel. When I was young, I always liked Molly Hatchet and Blackfoot most out of the southern rock bands - and just for that reason: they were heavier, adding hard rock into their sound more (and more often) than any other southern bands. But when I got older, then old, I grew to more fully appreciate some of the subtleties, variety and musicianship of Lynyrd Skynyrd and the others. ✌🏻

@OldGuitarMan yeah, I totally get that about the subtleties and intricacies of Skynard, especially with a three guitar lineup. I was actually so excited to hear Molly Hatchett, I think, because I just don't hear them every day, like you do Skynard. Really took me back. My tastes sure have broadened with age, and I think that's a good thing, but my heart will always lean to the harder rock stuff. Peace brother🤘

Thank you :)

Thank you 😎😊

Thank you 😎

Thank you :)

Thank you! 😂

Thank you, again! 🤣

:) thank you 🙏🏻

Thank you 😎🙏🏻 It was a while ago, but I think I got the verse chords and that descending note pattern from Ultimate Guitar. From watching live videos of the band, they aren’t exactly what their guitar player was doing. Still, like a lot of the videos I do, it’s more an interpretation of the song over their playing as opposed to a note-for-note copy. I remember wanting to try for a “haunted surf” sound during the verses by using that vibrato/trem technique, and playing just the three-note versions of those chords on the high strings worked well enough for that. I do wish I’d had Moises software then to isolate the vocals, cut them out and then overlay the solo vocal track on the video. I’ve been doing that for about a year now. Once the two vocal lines are synced, it boosts the volume and clarity of the singing. For a song like this it would’ve been such an enhancement, as her voice gets distant or buried sometimes the way I record like a caveman with a room mic. Good luck! 🎸🌙✌🏻

Thanks 😎