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17 Videos  
page 1 / 1
       
  sean raven & the hollow bodies - chasing...
live from canada day festival in okotoks 2007. live from canada day festival in okotoks 2007. live from canada day festival in okotoks 2007.
  the hollow bodies - "good golly / sea cruise"
at englishmanjohn's stage at englishmanjohn's stage at englishmanjohn's stage
  pickup installation tip for hollowbodies...
dan's advice: don't try to remove the wiring harness that's already working fine. save yourself some time this way. dan's advice: don't try to remove the wiring harness that's already working fine. save yourself some time this way. dan's advice: don't try to remove the wiring harness that's already working fine. save yourself some time this way.
  mega man soundtrack 1 - driver
*please read carefully!!* this is music from a soundtrack that was published and released back in 1996 by atlantic recording corporation. most of the music of the soundtrack sounds as though it has little to nothing to do with mega man (except for the last song on the cd); if you thought that, then you are absolutely right...but that's the music that they went with. while i think the cd is a terrible mega man music cd, it still makes a good music cd and it has some great tunes on it. please enjoy. additional info from inside the fold-out info sheet: [phillip roebuck; muna and pop songs/warner-tamerlane publishing corp., bmi. all rights on behalf of muna and pop songs adm. by warner-tamerlane publishing corp.] produced by the hollowbodies. engineered by jim bacci. mixed by jim bacci & the hollowbodies. recorded at explosive sound #12, los angeles, ca. 1995 muna tea records. the hollowbodies appear courtesy of muna tea records. and remember folks; type &fmt=18 at the end of your urls for higher quality videos! *please read carefully!!* this is music from a soundtrack that was published and released back in 1996 by atlantic recording corporation. most of the music of the soundtrack sounds as though it has little to nothing to do with mega man (except for the last song on the cd); if you thought that, then you are absolutely right...but that's the music that they went with. while i think the cd is a terrible mega man music cd, it still makes a good music cd and it has some great tunes on it. please enjoy. additional info from inside the fold-out info sheet: [phillip roebuck; muna and pop songs/warner-tamerlane publishing corp., bmi. all rights on behalf of muna and pop songs adm. by warner-tamerlane publishing corp.] produced by the hollowbodies. engineered by jim bacci. mixed by jim bacci & the hollowbodies. recorded at explosive sound #12, los angeles, ca. 1995 muna tea records. the hollowbodies appear courtesy of muna tea records. and remember folks; type &fmt=18 at the end of your urls for higher quality videos! *please read carefully!!* this is music from a soundtrack that was published and released back in 1996 by atlantic recording corporation. most of the music of the soundtrack sounds as though it has little to nothing to do with mega man (except for the last song on the cd); if you thought that, then you are absolutely right...but that's the music that they went with. while i think the cd is a terrible mega man music cd, it still makes a good music cd and it has some great tunes on it. please enjoy. additional info from inside the fold-out info sheet: [phillip roebuck; muna and pop songs/warner-tamerlane publishing corp., bmi. all rights on behalf of muna and pop songs adm. by warner-tamerlane publishing corp.] produced by the hollowbodies. engineered by jim bacci. mixed by jim bacci & the hollowbodies. recorded at explosive sound #12, los angeles, ca. 1995 muna tea records. the hollowbodies appear courtesy of muna tea records. and remember folks; type &fmt=18 at the end of your urls for higher quality videos!
  blitzkid - lets go to the cemetery (acoustic)
blitzkid playing lets go to the cemetery acoustically. from 2004's hollow bodies(unofficial release). blitzkid playing lets go to the cemetery acoustically. from 2004's hollow bodies(unofficial release). blitzkid playing lets go to the cemetery acoustically. from 2004's hollow bodies(unofficial release).
  "birthday"
the hollow bodies at englishmanjohn's stage march 20, 2008 the hollow bodies at englishmanjohn's stage march 20, 2008 the hollow bodies at englishmanjohn's stage march 20, 2008
  blitzkid - the trunk
blitzkid playing the trunk acoustically. from 2004's hollow bodies(unofficial release). blitzkid playing the trunk acoustically. from 2004's hollow bodies(unofficial release). blitzkid playing the trunk acoustically. from 2004's hollow bodies(unofficial release).
  blitzkid - the torn prince (acoustic)
blitzkid playing the torn prince acoustically. from 2004's hollow bodies(unofficial release). blitzkid playing the torn prince acoustically. from 2004's hollow bodies(unofficial release). blitzkid playing the torn prince acoustically. from 2004's hollow bodies(unofficial release).
  durham electronics mucho boosto overdriv...
www.proguitarshop.com - the durham electronics mucho boosto overdrive pedal was based 100% on the sex drive circuit. the mucho boosto was designed to give more gain than the sex drive and give more color to your tone. the tone control has a wider range and instead of a compression switch, there is a norm/fat switch to help with the differences between single coils and humbuckers. like all durham electronics pedals, the mucho boosto is not true bypass, opting instead for a high quality line buffer. the durham electronics mucho boosto overdrive is still very transparent and clear with an overdrive that will make your mouth water. with the gain all the way down, the mucho boosto gives a sweet clean boost much akin to the sex drive. when the gain is turned up, the mucho boosto gives sweet, singing overdrive with a violin type tone and slight compression. the tone knob gives a smooth transition from bright and twangy to dark and moody without getting muffled. the norm/fat switch gives a great low-end boost in fat mode for single coils and backs off in norm mode for humbuckers and/or hollow bodies. all in all, the durham electronics mucho boosto overdrive pedal is one sweet little box with enough character and personality, it may become your next (or only) child. www.proguitarshop.com - the durham electronics mucho boosto overdrive pedal was based 100% on the sex drive circuit. the mucho boosto was designed to give more gain than the sex drive and give more color to your tone. the tone control has a wider range and instead of a compression switch, there is a norm/fat switch to help with the differences between single coils and humbuckers. like all durham electronics pedals, the mucho boosto is not true bypass, opting instead for a high quality line buffer. the durham electronics mucho boosto overdrive is still very transparent and clear with an overdrive that will make your mouth water. with the gain all the way down, the mucho boosto gives a sweet clean boost much akin to the sex drive. when the gain is turned up, the mucho boosto gives sweet, singing overdrive with a violin type tone and slight compression. the tone knob gives a smooth transition from bright and twangy to dark and moody without getting muffled. the norm/fat switch gives a great low-end boost in fat mode for single coils and backs off in norm mode for humbuckers and/or hollow bodies. all in all, the durham electronics mucho boosto overdrive pedal is one sweet little box with enough character and personality, it may become your next (or only) child. www.proguitarshop.com - the durham electronics mucho boosto overdrive pedal was based 100% on the sex drive circuit. the mucho boosto was designed to give more gain than the sex drive and give more color to your tone. the tone control has a wider range and instead of a compression switch, there is a norm/fat switch to help with the differences between single coils and humbuckers. like all durham electronics pedals, the mucho boosto is not true bypass, opting instead for a high quality line buffer. the durham electronics mucho boosto overdrive is still very transparent and clear with an overdrive that will make your mouth water. with the gain all the way down, the mucho boosto gives a sweet clean boost much akin to the sex drive. when the gain is turned up, the mucho boosto gives sweet, singing overdrive with a violin type tone and slight compression. the tone knob gives a smooth transition from bright and twangy to dark and moody without getting muffled. the norm/fat switch gives a great low-end boost in fat mode for single coils and backs off in norm mode for humbuckers and/or hollow bodies. all in all, the durham electronics mucho boosto overdrive pedal is one sweet little box with enough character and personality, it may become your next (or only) child.
  ichigo: nothing is wrong with me
well, this is my birthday-present for timmie. i could have done a better job though. anyway, i'm well aware of that the song i used maybe doesn't appeal to all of you, but its still a birthday-present. anyway, enjoy^^ and once again, happy birthday timmie :d this video is purely fan-made and is in no way associated with the musical artist or anime company in any way well, this is my birthday-present for timmie. i could have done a better job though. anyway, i'm well aware of that the song i used maybe doesn't appeal to all of you, but its still a birthday-present. anyway, enjoy^^ and once again, happy birthday timmie :d this video is purely fan-made and is in no way associated with the musical artist or anime company in any way well, this is my birthday-present for timmie. i could have done a better job though. anyway, i'm well aware of that the song i used maybe doesn't appeal to all of you, but its still a birthday-present. anyway, enjoy^^ and once again, happy birthday timmie :d this video is purely fan-made and is in no way associated with the musical artist or anime company in any way
  blitzkid - return to the living (acoustic)
blitzkid playing return to the living acoustically. from 2004's hollow bodies(unofficial release). blitzkid playing return to the living acoustically. from 2004's hollow bodies(unofficial release). blitzkid playing return to the living acoustically. from 2004's hollow bodies(unofficial release).
  blitzkid - the fog (acoustic)
blitzkid playing the fog acoustically. from 2004's hollow bodies(unofficial release). blitzkid playing the fog acoustically. from 2004's hollow bodies(unofficial release). blitzkid playing the fog acoustically. from 2004's hollow bodies(unofficial release).
  dying day-rough acoustic cover of the bl...
requested by nuambanidebere,here is a rough acoustic version of dying day by one of the greatest bands ever,blitzkid.i learned the lyrics and the chords from listening to the track from the blitzkid live acoustic`hollow bodies`version.(video and audio out of synch for some of this upload) requested by nuambanidebere,here is a rough acoustic version of dying day by one of the greatest bands ever,blitzkid.i learned the lyrics and the chords from listening to the track from the blitzkid live acoustic`hollow bodies`version.(video and audio out of synch for some of this upload) requested by nuambanidebere,here is a rough acoustic version of dying day by one of the greatest bands ever,blitzkid.i learned the lyrics and the chords from listening to the track from the blitzkid live acoustic`hollow bodies`version.(video and audio out of synch for some of this upload)
  british blues rock 01
http://www.riffinteractive.com our first lick is a classic blues-based rock phrase that pays homage to the chuck berry influence on early british blues-rockers. highly appropriate for this time of year, this is a 'back to school' line that points to the blues and swing roots of rock `n' roll. our lick is in d and can be played over a d major or d7 chord. it is situated in the 10th position 'blues box' and makes use of several familiar stylistic features. note the raked articulation which begins the lick and the unison slurred riff which propels the phrase along with a syncopated gait. the lick concludes with a series of double stops in parallel thirds, another strong allusion to the berry style. also noteworthy is the bluesy use of the minor third, f, and the minor seventh, c, in the phrase. this lick was played on an arch-top electric guitar plugged into a vox ac-30 combo amplifier. this setup was common in the early days of the british invasion. george harrison (gretsch country gentleman) of the beatles and both keith richard (harmony meteor) and brian jones (gretsch anniversary) of the rolling stones used similar equipment. the mating of woody american hollow bodies with the throaty mid range of vox amps imparted a unique timbre to the borrowed and mutated blues-rock licks of the british invasion. http://www.riffinteractive.com our first lick is a classic blues-based rock phrase that pays homage to the chuck berry influence on early british blues-rockers. highly appropriate for this time of year, this is a 'back to school' line that points to the blues and swing roots of rock `n' roll. our lick is in d and can be played over a d major or d7 chord. it is situated in the 10th position 'blues box' and makes use of several familiar stylistic features. note the raked articulation which begins the lick and the unison slurred riff which propels the phrase along with a syncopated gait. the lick concludes with a series of double stops in parallel thirds, another strong allusion to the berry style. also noteworthy is the bluesy use of the minor third, f, and the minor seventh, c, in the phrase. this lick was played on an arch-top electric guitar plugged into a vox ac-30 combo amplifier. this setup was common in the early days of the british invasion. george harrison (gretsch country gentleman) of the beatles and both keith richard (harmony meteor) and brian jones (gretsch anniversary) of the rolling stones used similar equipment. the mating of woody american hollow bodies with the throaty mid range of vox amps imparted a unique timbre to the borrowed and mutated blues-rock licks of the british invasion. http://www.riffinteractive.com our first lick is a classic blues-based rock phrase that pays homage to the chuck berry influence on early british blues-rockers. highly appropriate for this time of year, this is a 'back to school' line that points to the blues and swing roots of rock `n' roll. our lick is in d and can be played over a d major or d7 chord. it is situated in the 10th position 'blues box' and makes use of several familiar stylistic features. note the raked articulation which begins the lick and the unison slurred riff which propels the phrase along with a syncopated gait. the lick concludes with a series of double stops in parallel thirds, another strong allusion to the berry style. also noteworthy is the bluesy use of the minor third, f, and the minor seventh, c, in the phrase. this lick was played on an arch-top electric guitar plugged into a vox ac-30 combo amplifier. this setup was common in the early days of the british invasion. george harrison (gretsch country gentleman) of the beatles and both keith richard (harmony meteor) and brian jones (gretsch anniversary) of the rolling stones used similar equipment. the mating of woody american hollow bodies with the throaty mid range of vox amps imparted a unique timbre to the borrowed and mutated blues-rock licks of the british invasion.
  dragons in the fire steelart
steelart steelart steelart
  nothing to believe - atemporal cross
how many words do you have to say to feel that you wont go to hell when you're dead how many pages do you have to read to sleep in your bed with no regrets in your head i think it's time to know it i think it's time to wake up from your dream i thought you could discover the flames of hell are burning you everyday there's nothing to believe no one takes out your misery there's no place to hide yourself stop pretending you're someone else i still see nothing in all of this it´s only fights and hollow bodies 'round here you should be careful of what you do day by day instead of trying to hide all of your mistakes you clean-up your mind on sundays but on mondays you bring back dirt again i think you'd better know it there's nothing to do when you walk the wrong way there's nothing to believe no one takes out your misery there's no place to hide yourself stop pretending you're someone else how many words do you have to say to feel that you wont go to hell when you're dead how many pages do you have to read to sleep in your bed with no regrets in your head i think it's time to know it i think it's time to wake up from your dream i thought you could discover the flames of hell are burning you everyday there's nothing to believe no one takes out your misery there's no place to hide yourself stop pretending you're someone else i still see nothing in all of this it´s only fights and hollow bodies 'round here you should be careful of what you do day by day instead of trying to hide all of your mistakes you clean-up your mind on sundays but on mondays you bring back dirt again i think you'd better know it there's nothing to do when you walk the wrong way there's nothing to believe no one takes out your misery there's no place to hide yourself stop pretending you're someone else how many words do you have to say to feel that you wont go to hell when you're dead how many pages do you have to read to sleep in your bed with no regrets in your head i think it's time to know it i think it's time to wake up from your dream i thought you could discover the flames of hell are burning you everyday there's nothing to believe no one takes out your misery there's no place to hide yourself stop pretending you're someone else i still see nothing in all of this it´s only fights and hollow bodies 'round here you should be careful of what you do day by day instead of trying to hide all of your mistakes you clean-up your mind on sundays but on mondays you bring back dirt again i think you'd better know it there's nothing to do when you walk the wrong way there's nothing to believe no one takes out your misery there's no place to hide yourself stop pretending you're someone else
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