Gooble gobble.

Gabba gabba hey.

I would probably trade a kidney for a B3, and I really want a rhodes. And a new concertina, and I need to fix my xylophone. It’s endless.

And: “Alleycat”. Will you play it for me one of these days, babe?

James Brown, playing one with “open-legs.” Where you could see what was going on underneath, on the Mike Douglas show, singing, playing, standing on, walking across the pedals, with that dance-step I so much remember him for. Seems he could glide, heel/toe, side to side. How he moved!

Me, benched on one in Ralph Nielsen’s Music City in Rockford, IL, when I was an early teen, waiting for time for my piano lesson. (They likely thought they’d wish I’d stop trying to play The Alley Cat Song on every one of them. They tolerated me.)

Me, turning pages for my teacher, for her audition (not on a Hammond) at The Mendelsohn Club. She wore a “peuse” cocktail dress, Chiffon, and the flats she’d carried around for years as her organ shoes. (For the occasion, she’d bought a “real” pair, tap-heels without the taps, but gave them up on first try, so used-to she was of the ones she’d worn for years. Her audition was successful.

I love the sound of a B-3, played expertly by someone at one with the instrument. One of my favorite sounds is the sound of the Leslie speaker, kicked down from fast-rotation, to slow and the “percussive” setting on “High”. Cooper might be able to help name an instance, many bands from the sixties/seventies used this technique, though I can’t recall a particular song as example. Wait, I just thought of one, the end of Cherokee Nation by Paul Revere and the Raiders. If I remember rightly, the last few bars of the song use this exact technique.

Thanks, ‘Manda Mae!

I assume it would make a very pretty sound at that price?