Sil Nim Tao
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Little Idea Form – 108 move set.
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Siu Nim Tao (Xiao Nian Tou) |
- Common meaning - |
Sil Lim Tao |
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# 1 |
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Hoi Yee Jee Kim Yeung Ma (Kai Er Zi Qian Yang Ma) |
Opening trapezoidal clamping goat horse |
Opening stance |
1 |
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Ha Cha Sao (Xia Cha Shou) |
Low crossed arms |
Cross arms |
2 |
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Seung Cha Sao (Shuang Cha Shou) |
High crossed arms |
Bring them up |
3 |
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Seung Sao Kuen (Shuang Shou Quan) |
Double closing fists |
Make fists, withdraw |
4 |
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Jo Yaat Jee Chung Kuen |
Left vertical thrusting punch |
Left punch |
5 |
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Jo Tan Sao (Zuo Tan Shou) |
Left dispersing arm |
Left Tan Sao |
6 |
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Jo Huen Sao (Zuo Juan Shou) |
Left circling hand |
Left Huen Sao |
7 |
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Jo Sao Kuen (Zuo Shou Quan) |
Left closing fist |
Make a fist, withdraw |
8 |
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Repeat on Right side |
9-12 |
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Jo Tan Sao (Zuo Tan Shou) |
Left dispersing arm |
Left Tan Sao |
13 |
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Jo Huen Sao (Zuo Juan Shou) |
Left circling arm |
Huen Sao |
14 |
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Jo Chum Sao (Zuo Chen Shou) |
Left sinking hand |
Drop hand |
15 |
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Jo Wu Sao (Zuo Hu Shou) |
Left protecting hand |
Wu Sao |
16 |
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Jo Fook Sao (Zuo Fu Shou) |
Left controlling arm |
Fook Sao |
17 |
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Jo Chum Sao (Zuo Chen Shou) |
Left sinking hand |
Drop hand |
18 |
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Jo Wu Sao (Zuo Hu Shou) |
Left protecting hand |
Huen Sao to Wu Sao |
19 |
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Jo Fook Sao (Zuo Fu Shou) |
Left controlling arm |
Fook Sao |
20 |
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Jo Chum Sao (Zuo Chen Shou) |
Left sinking hand |
Drop hand |
21 |
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Jo Wu Sao (Zuo Hu Shou) |
Left protecting hand |
Huen Sao to Wu Sao |
22 |
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Jo Fook Sao (Zuo Fu Shou) |
Left controlling arm |
Fook Sao |
23 |
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Jo Chum Sao (Zuo Chen Shou) |
Left sinking hand |
Drop hand |
24 |
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Jo Wu Sao (Zuo Hu Shou) |
Left protecting hand |
Huen Sao to Wu Sao |
25 |
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Jo Pak Sao (Zuo Pai Shou) |
Left slapping hand |
Pak Sao |
26 |
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Jo Jing Jeung (Zhuo Zeng Jeung) |
Left straight palm |
Left palm strike |
27 |
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Jo Tan Sao (Zuo Tan Shou) |
Left dispersing arm |
Tan Sao |
28 |
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Jo Huen Sao (Zuo Juan Shou) |
Left circling hand |
Huen Sao |
29 |
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Jo Sao Kuen (Zuo Shou Quan) |
Left closing fist |
Make a fist, withdraw |
30 |
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Repeat on Right side |
31-48 |
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# 2 |
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Jo Wang Gum Sao (Zuo Heng Jin Shou) |
Left side pinning arm |
Left Gum Sao |
49 |
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Yao Wang Gum Sao (You Heng Jin Shou) |
Right side pinning arm |
Right Gum Sao |
50 |
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Seung Hao Gum Sao (Shuang Hou Jin Shou) |
Double back pinning arms |
Double rear palm strike |
51 |
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Seung Jin Gum Sao (Shuang Qian Jin Shou) |
Double front pinning arms |
Double front palm strike |
52 |
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Seung Lan Sao (Shuang Lan Shou) |
Double barring arms |
Bring arms up |
53 |
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Seung Fak Sao (Shuang Fu Shou) |
Double whisking arms |
Double Fut Sao |
54 |
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Seung Lan Sao (Shuang Lan Shou) |
Double barring arms |
Bring arms back |
55 |
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Seung Chum Sao (Shuang Chen Shou) |
Double sinking arms |
Drop both hands |
56 |
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Seung Tan Sao (Shuang Tan Shou) |
Double dispersing arms |
Double Tan Sao |
57 |
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Seung Jut Sao (Shuang Jut Shou) |
Double choking arms |
Double Jut Sao |
58 |
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Seung Biu Jee (Shuang Biao Shou) |
Double darting fingers |
Double Bil Jee |
59 |
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Seung Cheung Kiu Gum Sao (Shuang Chang Qiao Jin Shou) |
Double long bridge pinning arms |
Double Gum Sao |
60 |
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Seung Ding Sao (Shuo Ding Shou) |
Double butting arms |
Double Tarn Sao |
61 |
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Seung Sao Kuen (Shuang Shou Quan) |
Double closing fists |
Make fists, withdraw |
62 |
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# 3 |
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Jo Pak Sao (Zuo Pai Shou) |
Left slapping hand |
Left Pak Sao |
63 |
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Jo Juk Jeung (Zuo Ce Zhang) |
Left side palm |
Left palm strike |
64 |
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Jo Tan Sao (Zuo Tan Shou) |
Left dispersing arm |
Tan Sao |
65 |
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Jo Huen Sao (Zuo Juan Shou) |
Left circling hand |
Huen Sao |
66 |
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Jo Sao Kuen (Zuo Shou Quan) |
Left closing fist |
Make a fist, withdraw |
67 |
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Repeat on Right side |
68-72 |
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Jo Tan Sao (Zuo Tan Shou) |
Left dispersing arm |
Left Tan Sao |
73 |
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Jo Gaun Sao (Zuo Geng Shou) |
Left cultivating arm |
Garn Sao |
74 |
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Jo Tan Sao (Zuo Tan Shou) |
Left dispersing arm |
Tan Sao |
75 |
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Jo Huen Sao (Zuo Juan Shou) |
Left circling hand |
Huen Sao |
76 |
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Jo Dai Jeung (Zuo Di Zhang) |
Left low palm |
Left low palm strike |
77 |
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Jo Tan Sao (Zuo Tan Shou) |
Left dispersing arm |
Tan Sao |
78 |
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Jo Noi Huen Sao (Zuo Nei Juan Shou) |
Left inside circling hand |
Heun Sao |
79 |
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Jo Sao Kuen (Zuo Shou Quan) |
Left closing fist |
Make a fist, withdraw |
80 |
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Repeat on right side |
81-88 |
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Jo Bong Sao (Zuo Bang Shou) |
Left wing arm |
Left Bong Sao |
89 |
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Jo Tan Sao (Zuo Tan Shou) |
Left dispersing arm |
Tan Sao |
90 |
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Jo Tok Jeung (Zuo Tuo Zhang) |
Left butting palm |
Low palm strike |
91 |
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Jo Tan Sao (Zuo Tan Shou) |
Left dispersing arm |
Tan Sao |
92 |
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Jo Huen Sao (Zuo Juan Shou) |
Left circling hand |
Huen Sao |
93 |
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Jo Sao Kuen (Zuo Shou Quan) |
Left closing fist |
Make a fist, withdraw |
94 |
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Repeat on right side |
95-100 |
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Jo Tut Sao (Zuo Tuo Shou) |
Left freeing arm |
Strike down with right hand while wthdrawing left arm |
101 |
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Yao Tut Sao (You Tuo Shou) |
Right freeing arm |
Strike down with left hand while withdrawing right arm |
102 |
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Jo Tut Sao (Zuo Tuo Shou) |
Left freeing arm |
Strike down with right hand while withdrawing left arm |
103 |
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Yao Lien Wan Kuen (You Lian Huan Quan) |
Left linked chain punch |
Left punch, Right punch, Left punch |
104 |
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Yao Tan Sao (You Tan Shou) |
Dispersing arm |
Tan Sao |
105 |
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Yao Huen Sao (You Juan Shou) |
Circling hand |
Huen Sao |
106 |
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Yao Sao Kuen (You Shou Quan) |
Right closing fist |
Make fist, withdraw |
107 |
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Sao Ma (Shou Ma) |
Closing horse |
To attention |
108 |
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Sil Lim Tao form complete |
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Wing Chun Kuen – “first hour” training notes.
Posted by: jkk in Uncategorized on February 11th, 2010
Beginner Level Notes – first few months.
Fist – Yat Chi Chun Kuen, “Sun Shaped Fist” … fingers are closed and brought into the palm. Thumb closes over fingers and rests over the first two knuckles, tip resting above the crease between the middle and ring fingers. Back of hand is flat and in line with forearm.
Punch – maintain structure, silk reeling energy, intent and fa jing
- oi mun choy – outside, over-forearm blocking punch
- noi mun choy – inside, under-forearm blocking punch
- sae mun – The Four Gates
- tan sao
- gan sao
- pak sao
- gum sao
tan / gan drill – tan meets tan, gan meets gan. Same and opposite sides. Intended to perfect structure and make the techniques more natural.
kuen su kuen (punch against punch) – Punches meet on the outer forearm, crossing. Later, this can be turned into kuen lap su kuen lap.
tan drills – vs. straight, hook, cross
gan drills – vs. same side uppercut
pak drills – vs. straight and cross
gum drills – vs. opposite side uppercut
correllary drill: mix up the attacks against four gates, hooks and uppercuts, working in all the techniques.
Stance
- Yi Chi Kim Yun Ma – legs are together. Sink at the knees keeping the back straight, until the legs for an approximate 135 degree angle (incidentally, this is the angle for our arm techniques at the elbow: tan, bong, gan, fook, etc…) feet open, rotating at the heel until the angle is 45 degrees. Rotating on the ball of the feet, spread ankles out until the resultant angle is again 45 degrees with the toes pointing towards the apex. Tailbone rotates under and parineum lines up with top of the head. Back is mildly curved, chest is not poked out. Weight is sunk into the knees and adductor muscles flex to draw body down towards the ground with the energy being expressed in a forward manner along the bottom plane of the feet.
- hao ma – sitting stance. one leg back, one forward. 90%/10% weight ratio. Toes of front leg line up with heel of back leg. Hips and torso face directly forward, square with your intended direction. Both feet are at a 45 degree angle to the center line of the body. Adduction is KEY to maintaining proper structure.
- toh ma – (aka short flat walk) Following rules from hao ma, front leg steps forward. Adduction force pulls rear leg towards front, sliding across the floor. Lifting the foot potentially removes grounding.
- jeet ma – shooting step (longer toh ma). Front leg shoots out a greater distance to cover more ground. Used for bridging a safe gap, performing an attack, etc. Same as toh ma, but faster and farther.
Kicks
- jeet gurk – shooting kick. Toes are pointed inward, analogous to hand position in gan sao. Leeding foot edge is striking point. Intended for targeting legs normally. Knee is lifted, kick’s energy whips from knee.
- tai gurk – rising kick. Leg is lifted upwards, using the top of the foot as the striking surface, as if kicking a football. Adduction drives kick, power is generated from thigh muscles, sinking into the rear leg a miniscule amount before striking powers the ground and gives structure.
- fung gurk – flat forward kick. Toes point upward, striking point is the bottom of the foot. Intended for larger surfaces like the stomach, thigh-torso connection, or bottocks / back (say if the opponent is performing a spin kick.
- dim gurk – crushing downard kick. Energy is sent downward to folding targets like the knee (or between knee/ankle) or femur-hip connection. Energy sinks and is directed towards the ground. Goal is to fold the target, forcing the knee to bend or the torso to drop straight down.
bong sao – rolling and intercepting.
- Rolling bong sao is a response to an attack which makes contact with the arm and is attempting to drive through. This is not an active block as much as it is a structural answer to an opposing force. Arm rolls over from wu sao (or extended position) into bong position.
- Intercepting bong sau blocks an incoming punch with its structure in place before the punch makes contact with the arm. The energy is generally at an intercepting angle to the punch and force is equally distributed along the leading contact edge of the forearm, between the wrist and elbow.
chuen ma exercises (stance turning)
- sae mun (four gates with stance turning)
- bong sao (bong with stance turning)
- sae mun + returning energy (four gates with turning, body turns back to center position and send a punch using the turning energy to drive it.)
Wing Chun Kuen – “2nd hour” training regimen notes
Sil Nim Tao should be fully learned by this stage. Focus should now be on placement, stance and energy. The opening section up until the end of the sam pai fut (three palms to buddha) should be performed slowly as a method of chi generation. Energy generated in section one should be expended through fa jing following this point, starting with the first bok jarn / gum sao until the final three punches in the form.
Self Defense – Knife Drills
Continuing under the premise that students may not stick with Wing Chun, “self defense” techniques which can translate to real life scenarios and be learned easily are still being taught at this stage.
- Inside slash (follow through counter, pull back, high, low)
- Back slash (high, low)
- Downward stab
- Stomach stab
- Kidney stab
*** I didn’t write down the sequences for these techniques. I’ll need to work through each one and try to remember the correct responses.
Footwork:
Seet Ma (light/heavy leg)
- “light leg” seet ma – from hao ma facing the opponent, forward leg moves out to about 45 degrees of centerline. Rear leg arcs in coming next to the lead foot. Weight is transferred to lead foot and the angle is again reversed towards the opponent and the forward leg becomes the rear leg. Used to avoid attacks from various locations and attain a better attack angle.
- “heavy leg” seet ma – from hao ma facing the opponent. Pushing towards the open side of your stance with your front leg, the rear leg steps away from the centerline at 90 degrees. Upon settling, direction is shifted 45 degrees towards closed side of stance, changing the direction of your centerline. This is used to change the angle of attack on an incoming opponent without losing ground. Typically the opponent’s side will be exposed if executed properly and in the right scenario.
Seung Ma (double step) – Used to advance quickly upon a retreating or distant opponent when doing so does not compromise one’s position. Front foot steps as if doing a seet ma (long flat walk?) and upon making contact with the ground, shifts angle from inner 45 to outer 45 degrees (a change of 90 degrees). Weight is then transferred and the front leg becomes the back as the former rear leg now shoots to the forward position into the hao ma position once again.
Toi Ma (sweeping/arcing backstep) – Used to retreat and repostion without changing direction or even forward intent. Front leg sweeps around in an arc and repositions as the rear leg, shifting accordingly.
Drill: Oi Mun Choy (outer arm blocking punch) against opponent’s punches using Oy/Noy Seen Wai
Kicks with Stepping:
- tai gurk
- dim gurk
- jeet gurk
- fung gurk
Hand Drills
- tan da with yan chun - tan punch against a hook, tan hand flips over to become a yan chun (open palm strike, fingers straight up).
- tan sao, yu dai chun, pai jarn - tan sao against a straight punch, slides down over punch to become lower palm strike (yu dai chun) to naval/dan tien/bladder, arm folds and rising elbow (pai jarn) strikes chin.
- pak da, biu sao – pak punch. wu sao strikes forward to eyes/throat/soft spot with biu sao.
- jum sao, jik kuen – jum sao against lower straight punch, turns into a responding straight punch to torso.
- gan da, tai kuen — gan da against an upper cut, gan hand turns into a rising punch
Front hand, rear hand response Drill *can’t remember exactly what this is, i’m going to consult my old classmates to confirm my thoughts.
Dan Chi Sao – single hand chi sao, no stepping. Simply learn mechanical response to the basics. Opponent starts in tan sao, Exponent in fook sao. Opponent strikes with straight punch, Exponent response with jam sao. Exponent strikes with straight punch, opponent response with bong sao.
Theory: double yang arc (2 movements on same side of arc)
Bong Lop Da with Chuen Ma (stance turning), returning energy (striking with arm you’re centering towards)
Pak sao – biu sao with stance turning and returning to center punch.
Lop Sao Drill
- guat sao (bowl scraping block) — done from punch after the lop sao.
- tan sao response — from bong, arm turns into tan sao after opponent strikes and rear arm turns into a punch.
- double leg take down – going down with knees together.
- chain punching/elbows/kicking
- ground “ready” position”
- rotating and moving around
- switching legs
- heel / knee trap
- roundhouse response to knee grab
- getting back up
- defense against the headlock to ground
Ankle/Leg Lock Counters (counter with Toy Ma, Pak Da, Jik Gerk, Toh Ma, Lin Wan
Kuen)
Seung Gan vs Seung Gan drill — focus on snap and forward intent of both gan sao.
Counter to Roundhouse Kick
- toh ma with double gan sao
- seet ma with double gan sao
Static Defense
- jik gurk versus side kick
- dim gurk vs. roundhouse kick
- dim gurk vs. spinning kick
- sae mun vs. various punches
- respond to attacker stepping out and throwing a roundhouse punch
- defender response with seet ma, turning into the attacker and using chain punches
- attack stands with YCKYM and throws single punches
- defender response with oi seen wai then alternately, noi seen wai.
Boxer’s Crouch drill (punches, roundhouse/turning kick…)
Cau Sao to Bong Lop
Knife Kick Punch Grab drill — Opponent attacks with knife, neutralize and stay ready for a kick form the opponent. Defend from kick then be ready for another attack, typically a punch. Defend against that. Opponent grabs, use level 1 self defense techniques to get out and “finish” the opponent so you can get away.
Self Defense drills, follow up with Lin Wan Kuen (chain punching)
demo tracks and sad songs.
Posted by: jkk in Composition, music on November 23rd, 2009
this is an ongoing documentation of demo tracks and tunes i’m coming up with as i attempt to get a band in order. this is by no means a comprehensive list of songs nor are any of the tunes complete or in their final form. these are demo quality. that means they are rough and uncouth and possibly even broken. take them as such.
Red River
Ignore the “Country Rock Regular” title across the top. I used to think it sounded good as a band name, but I’ve since changed my mind.
Bottle.
New song I wrote in early November while driving. This is the first recording; the guitar was improvised on the spot, so its rough. I recorded it a second time, but felt that this was raw and more real than the second iteration.
The Brine Song
this is a rhodes, a ric 4001, a ‘47 ric lap steel, ‘79 gibson es-335 CRR, a tele for the “bell” tones and a leslie 60s for the solo swirlies.
Devil’s Love
whisky and women.
Music update.
I’ve begun uploading tunes to Last.FM, even if they’re just demos and whatnot. I need to get a move on (fit for the sun) if I ever want to get a band together. Here’s the link: http://last.fm/music/Country+Rock+Regular
Embarkment.
Today I finish what I hope is my last long term stay in Florida. I grew up here and it is my home, but as one of my favorite people so often said, “Familiarity breeds contempt.” And in this case it did, but not without reprieve or oasis.
My disdain is simple. I lack patience for the vapid and vacuous. I’ve often been heard bad mouthing the South Tampa native with their artificial plumage: vertically striped shirts, bulbously impertinent false breasts, perfectly hydrophobic hair, and popped collars on pastel colored Polos. While socializing, like with any other animal, it is easy to avoid these creatures. Simply make a wide swath around the bars and clubs vomiting bad covers of Dave Matthews Band over their P.A. or turn tail and run when you hear the mind numbing 4/4 beat of one of their beloved House Music venues.
I have found small pockets where I am comfortable and happy, like miniature oases in a vast desert of suck. Places like The New World Brewery and Fuma Bella were like a second home at times. The Hub with its absurdly alcoholic drinks and PBR in a can caused me countless mornings of self inflicted pain. After later moving to Pinellas, I found myself at Indian Shores Coffee and Mickey Quinn’s Irish pub, where I made more than a few fast friends.
Which brings me to a poignant part of this note. I will miss my family and friends in Florida, of which I have made many and reconnected with others which will last until my end. To them I say “thanks,” for putting up with my quirks this long. I’ll certainly miss each of them. Though far and out of the way, there will be a place in Seattle for them to crash if they find themselves in the Pacific North-West.
My move from Florida may seem quixotic to some, but I assure you it is not. It certainly isn’t a “safe” venture in terms of sensibility, but it is a necessary one for my peace of mind. I will paraphrase Oscar Wilde: If you’re living within your means, you are not at all living.
It’s time I started living again.
