@Maka , the last one works for me, I’m in Australia btw. I’d forgotten this song, great call!
I’m going to get my guitarists on to it so we can jam it once I get the lyrics and harmonica down!
Thanks mate! 
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@Astrid I found the secret to the transitions. On the recording, the harmonica ‘last note’ of a riff goes straight into the vocal and similarly the last word goes straight into the harmonica riff. When I saw them do this live, Mike Rudd (lead singer/guitarist/harmonica) shortens how long he holds the last note or word just a tiny bit - enough to let him have an ‘orderly’ swap from one to the other. A great bit of technique that would be easy to miss if you weren’t focused on figuring out how he does it!
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@Jack_9211 Nice Charlie Musslewhite tune! I’d rate that as one of my personal favorites of his. Thanks for sharing!
Thanks for sharing @toogdog. Great stuff! Hadn’t been aware of “Belly” McClelland but glad I am now.
@LeoJ If you ever thought of picking up and Natural Minor harp, it’s fun to jam along with that song on a Dm harmonica. Chilling with the video.
Yeah @Maka love it! Love that little -3’ -3 -4 5 -3’ -3" 2 -234 -234 -234 345 ditty. So nice. Never had heard that. Very interesting production with the reverb on the snare with the predelay, and the vocals getting very wet at the end.
Good stuff Fam! Keep 'em coming…
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I guess all you guys already know this person but I just found them when I was continuing my immersion learning looking for harp music. Thought this was cool.
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Hello @toogdog,
it’s so cool and I have fun 
.
I could watch and of course listen to her all day. These quick changes between the harps, madness!
Thanks for the introduction. I checked it out in the morning and am now fit for a good Thursday. 
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Great rendition of a great song. He’s having fun. So cool.
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Not sure this is a top favourite of mine but I was surprised to find it. I am a huge Bowie fan. He was never afraid to be himself, to be different, to fail publicly by trying something new or to change his mind. He evolved over the years from being "outrageous " to being a pretty mainstream consumate performer. And besides he was hot and had a voice that could melt icebergs.
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I love this song and never really thought or realized it was a harmonica making this song!
Incredible showman and wonderful artist.
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Proof that some of the best music was made in the 1970s! And not just Prog. This is Dr. Feelgood with the song Roxette featuring 2 harmonica solos from singer Lee Brilleaux. On guitar is the legendary Wilko Johnson who sadly died a few days ago.
(18) Dr. Feelgood - Roxette - YouTube
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Not necessarily my favorite, but I had forgotten about the harmonica on this one. Bring It On Home by Led Zeppelin.
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Have we had Jack Bruce, taking a break from his bass while playing with Cream? I did a quick search & didn’t find him, so here he is…
and back in 1967 doing some Train Time
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Hi @Slim
Long time no talk!! I’ve been going through some old email threads and came across this one and i’m trying to get my head around music theory, heaven forbid.
This might be a dumb question but why is the -5 and -2’’ a flat v11 when the note is not a flat note ie: 'F"
The Minor chord has a flat 3rd in it and in this case it is Bd, which makes sense being a flatted note but why is the flat V11 not a flat note.
Hope this is easily explained without digging into too much theory for you 
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Hello @fallonsteve291,
I’ll try my hand at the answer.
You are describing a Richter tuning here (which can be chromatic, but doesn’t have to be). The arrangement is designed to always be able to play a chord. If you look at the wind tones, you will recognize the pattern “C E G C E G C E G…”. So you always have a chord built on the root C. In the core octave, therefore, it does not work to always alternate blowing and drawing in order to reach the next whole tone.
Maybe it helps you? But @Slim certainly still.
Greetings from Astrid 
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Hi Steve @fallonsteve291
Well, although it does sound tough, most of the music theory you need to get this down is fairly easy. 
Basically, when talking about the notes using numbers (like 3 and 5) the numbers refer to the notes in a scale and usually this means the major scale. As you probably know, there are 12 different major scales (just like there are blues harps in 12 different keys). From your question, I can tell that you are speaking about a C harmonica.
What you seem to asking about is why the -5 on a C harmonica (which, as you correctly said, is the note F – as is the -2" and also the -9) is called the flat 7 (or b7). Well, the -2", -5 and -9 are only called the flat 7 when you play the harmonica in second position (which means you are playing in the key of G and not in the key of C). Believe me – even if you didn’t know this before.
Now you need to know which notes occur in the G major scale – which you can find on wikipedia (here is the link). The seven notes of this scale are:
G A B C D E F#
The numbering of the notes in the G major scale begins with the G (also called the root note of the G major scale) and it is, of course, the number 1. Number 2 is then the A, number 3 is the B, etc. up to the seventh note which is F#. But on your C harp -2", -5 and -9 are each F but not F#. The difference between these two notes is that if you flatten (i.e. lower the pitch) F# by a half step you get the note F – so that is why -2", -5 and -9 are known as a flat 7. They are the seventh note of the G major scale, F#, that is lowered in pitch by a half step (aka “flattened”) to F.
As for your remark about the minor chord having a flat 3rd – this is true. But that note is only a Bb when we are speaking about the G major scale and its minor chord (which is made with the notes G Bb D). Looking above, you see that the 3rd note of the G major scale is a B. The note Bb is not in the G major scale. But if we lower that 3rd note (B) by a half step (and play -3’ on our C harp) we have it: Bb!
For harps in other keys, this is somewhat different (but still the same concept applies). For example the A harp played in 2nd position is using the E major scale, which has the notes (hold on to your seat):
E F# G# A B C# D#
and on that A harp -2", -5 and -9 each give you a D (not D#) and, as you can see, D is the flat 7 note of the E major scale. Since the minor chord for the E major scale is played with the notes E G B, you should now see that G is the flat 3rd of the E major scale’s 3rd note (G#).
I perhaps went overboard here, and if so I apologize. 
If you have further questions about this, ask again and I will try to clear up any difficulties. 
Regards,
– Slim 
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Hi @Slim.
No, that was not too much, very well explained and thank you for your time to do this. I have no formal education in music theory but am fascinated with the language. I get a bit frustrated when i dont quite understand.
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