by Joe Filisko


SOLID GROUND by ERIC NODEN BAND  Recorded on July 29 & 30, 2014 at Joyride Studios with Brian Leach engineering and Ryan Hogg working as an intern.  Kenny “Beedy Eyes” Smith playing drums and EG McDaniel playing bass.  The Wizard, Blaise Barton, was responsible for the editing, mixing and mastering.

SOLID GROUND – In the key of “D” using a “G”.  Harp is in the strict role of playing accompaniment with no intensional variation which is likely much harder than you may expect. The chordal effect sound of the “shake” is featured. Over the IV chord I’m using the split-3 interval exhaling on holes 1 & 3.  Note the long sustaining going on. Eric wanted some more chunky rhythm going on so instead of overdubbing a guitar we overdubbed a rhythm harp part with me mainly playing low chords on the “G” articulating “tuc-kuh-tuc-kuh”, like a slow train pattern only inhaling.  Recorded on 7/29/14

SECOND DAY OF JUNE – In the key of “D”, playing straight ahead 2nd position blues scale riffs on a “G”.  I had an abundance of hand tremolo going on during the solo.  I also used my alternate Harmony H-189 amp with an Astastic bullet prepared for me by Dennis “Mr. Microphone” Oellig.  The tone is more distorted which I thought would make a nice variation. Recorded on 7/30/14

CAN’T STAND TO LOSE YOU – Blues shuffle in the key of “E” using both an “A” and “LE” harp and played acoustically.  Eric wanted a Jimmy Reed vibe happening so the harp solos are attempting to capture that aside from the octaves which I couldn’t help adding. The rhythm is straight ahead “in in out out” shuffle chording on the “A” with fills added too. Recorded on 7/29/14

RHYME OR REASON – In the key of “F#m” played on a “LE” Thunderbird Marine Band. Mostly playing fills and joining in on the hook.  Recorded on 7/29/14

INCIDENT – In the key of “Em” played on a “LD” and mainly just doing fills. There is also a rhythm harp overdubbed and played on a “C” harp.  Recorded on 7/29/14

SIKTH SENSE – Shuffle in the key of “Em” played on a “LF” Thunderbird Marine Band.  This is the only tune Eric didn’t write on the record.  We had originally intended to use it for the duo/trio record and decided to record it with the band.  The growling/gravely sound is the snoring type of sound that I worked up years ago trying to imitate Gwen Foster. Seems to give the song an ominous quality.  I am most intensionally trying to recreate Rice Miller’s repetitive three note lick.  My study song, 6-P Blues will help to shed some light on the licks here. This is dedicated to Eddie Mapp who appears to be the first person to record in this position.  Recorded on 7/30/14

ALASKA – in the key of “D” and played on a “G”. Playing accompaniment using the “train whistle sustaining” approach.  Playing the notes, splits and chords are very easy.  Playing them with the correct amount of sustain is quite another story.  Recorded on 7/30/14

FIX IT TOMORROW – In the key of “E” played on an “A”.  Tricky arrangement that requires knowing the entire song form.  I believe I’m using the Sonny Terry like tongue shake chordal effect over the C#m chord.  Recorded on 7/30/14

I LIKE A WOMAN – Played acoustic on a “C” harp in the key of “G”. Basically trying to play low down blues as dark and spooky as possible. Straight up blues scale playing with minimum exhaling notes.  Slightly played in spirit of the Big Joe/ Sonny Boy I song Peach Orchard M.  Check out our duo version of this song on the On The Move CD. Recorded on 7/29/14

LOST TURNPIKE – The second acoustic number on the record, also in the key of “D” and played on a “G”. More “train whistle sustaining” approach in my playing.  Recorded on 7/30/14

DEEP WELLS – In the key of “Em” and played on a “C”.  Also had to use a “B” harp in the bridge to get that B chord.  Lots of fills going on in between the “shakes”.  The solo was actually overdubbed. The live take just didn’t capture the magic we wanted to have.  Recorded on 7/30/14

SONIC BREAKDOWN – Yet another tune in “D” and played on a “G”. That’s why I have to keep repairing my “G” harp!  Straight ahead Chicago Blues approach with a straight ahead Cajun approach on the bridge.  Check out the difference version we recorded on the On The Move CD.  Recorded on 7/29/14

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