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Aerosmith - Get a Grip* by Aerosmith

By Aerosmith

Matching folio to their hit unencumber, together with: Livin' at the area * Cryin' * Fever * Get a Grip * Amazin' * and extra.

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Not only were they thought of by other players as being rhythm-accompanists first and foremost, but they were often heard in groups where they were the only person laying down the chords. Whereas pianists (when in a group without a guitarist) could continue chording with their left hand while improvising a solo with the right, guitarists often tried to alternate both functions on the same fretboard. It was either that or abandon the chordal element altogether, which would have seemed a precarious adventure, given the rudimentary nature of most bass-players' contributions at the time.

These societies formed guitar, banjo or mandolin orchestras, often using variants of the featured instrument, such as harp guitar, bass banjo and mandola. At the same time, the guitar was a component of the string orchestras and mariachi bands of Mexico and the Mexican-Texan border and of the small 'serenading' groups of stringed instrument players in South Texas and New Orleans. Meanwhile, the surge of immigrants from Europe introduced fresh subcultures of guitar-playing that grew quickly in the ethnic enclaves of New York, Philadelphia, Boston or Chicago.

Recorded in Atlanta, this appears to be the first Southern recording of an African-American singer accompanying himself on guitar. Papa Charlie Jackson, an African-American vaudeville artist from New Orleans, who began recording in 1924, reached a slightly different solution, using the six-stringed banjo-guitar, a banjo with a guitar neck, to combine the volume of the former and the chordal richness of the latter while executing lively picking patterns. It is a banjo-guitar too that is heard on the 1920s recordings of Louis Armstrong's Hot Five, where the New Orleanian Johnny St Cyr employs both banjoists' and guitarists' righthand techniques.

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