The lyrics remind me of the Glen Campbell tune “Gentle On My Mind”: lots of words, but except for that Am7, easy to play. I didn’t check on chordie, but I suppose you could transpose it.
Sorry for the hijack. I’m getting better at not doing it, though! 
Quasi
I thought some of you would be interested in this - Michael Schreiner’s blog on Lute and Historical Guitar Building.
I think I’ve accomplished something when I put a piece of Ikea furniture together without fwcking something up…
I could waste a lot of time here.
I forgot this was coming out. Yoink. Rocksmith. Rock Band, except with any real guitar. Bundle comes with a cheap Les Paul.
PC version in December.
Santa?
You get that???
Finally a game that will make me a better picker!!
Thanks, E!!!
Your pal.
Quasi
Huh, I just did something I didn’t realize was possible with harmonics on the fretboard. Start on fret 7, g string. Finger the string, and slide up to 8 and remember what that sounded like. Now finger the harmonic at 7, same string, and gently glide up to 8 and fret it. You get the same sound as the first example, one octave up, fretted on 8! I didn’t know you could glide a harmonic like that. What’s that called? It really jumped out at me with the overdrive pedal on.
Umm, it’s called…“gliding a harmonic”? No clue, but your term sounds pretty spot on. It sounds like you are playing with a crunchy tone, which boosts the harmonic overtones. You ping the harmonic and the act of gliding up dampens the main note and emphasizes the harmonic. Since the principal, i.e., loudest, harmonic, is the octave above, that’s what you hear.
I think it is the same principle as EVH-style octave tapping, like the chorus of Dance the Night Away or the intro to Women In Love - fret the note and tap the string 12 frets higher than that directly on the fret - if your guitar and amp are set up correctly, you get a nice ringing note an octave above your fretted note…
I am sure you have played with it in your time - when EVH was huge, those techniques got a lot of play. But I think your new find is based on the same mechanics…but I am just making shit up, so don’t know for sure. 
Re: effects.
My Vox Tonelab goes everywhere with me these days. For live, I have it set up as an FX stompbox – overdrive, flanger, delay, slapback reverb, and volume pedal (the most important thing). For recording, I use it on its own, plugged straight into my interface, and I use all the amp-modelling stuff.
It’s an interesting technique – I can move up to maaybe three frets if I do it just so, and once I’ve landed on the fretboard I can bend the note. It’s like a pinch harmonic without the pinch. And no octave tap needed. You can hear it fairly well with a clean tone (or even no amp) but it does jump out more with an overdrive at hand.
Re: effects. I’ve got four (!) overdrive pedals that sound good to me for completely different reasons and different things, and some sound better with one my guitars than that same pedal with another guitar. I don’t gig, just fiddle around, maybe do a little bit of not very good recording work with Ableton, mostly stuff I can have fun soloing over.
I also sometimes plug my POD 2 into my amp and condition the tone like an overdrive but fancier. I like using the PODs clean tone to add warmth then run that into my BluesJr, or running a dialed-back twin tone into my dialed-up preamp. Lotsa good tones in there.
I do wish my Blues Jr had an effects loop; I was just reading an article on Harmony Central (url=http://www.harmonycentral.com/docs/DOC-1891]here) about using just the cabinet part of a modeler post your tube preamp to add a virtual cabinet tone, then you drive the result of that back out of your guitar power amp. Some of the samples in that article sound pretty cool.
Then there’s my miscellaneous pedals: chorus/flang, phaser, wah, delay etc that I hardly use with my amp, I just pull them out once in a while for fun.
I think about that, too - my friends who have Blues Jr’s portray it as such a versatile amp except for that issue. They are so moddable - you are a soldering type of guy - would it be hard to put a loop in? Isn’t it just input and output jacks inserted between the Power Amp and the Speaker?
Please remember - I have NO clue about electronics…
ETA: yeah, there’s more to it than that:
http://www.andrewsamplab.com/modifications.htm - scroll down to see:
Yeah, I’ve thought about modding, but its a bit above my pay grade, soldering-wise. I can solder some pots and wire stuff together, but I don’t really want to start drilling holes and adding components to a manufactured circuit board, I’d definitely screw it up. I have thought about getting a BillM mod, effects loop, bright switch, that sort of thing, but have someone else do it. Or I could just go buy a Tweaker and have fun that way.
Are Egnater Tweakers that decent of a “base” amp that it would be worth it? I have never checked one out - i.e., played it myself and put it through it’s paces. I always got the impression that it was a bunch of features glommed together into an inexpensive package, so I have kinda assumed that the basic amp would only sound meh, since they would’ve used cheaper parts to include all the other bells and whistles at an affordable price…
[QUOTE=WordMan]
…would it be hard to put a loop in? Isn’t it just input and output jacks inserted between the Power Amp and the Speaker?
[/QUOTE]
You seem to have found out for yourself, but that is not the place in the signal chain for an effects loop. You probably want it after the tone circuit but definitely before the power amp. You’ll also need an extra active component or two for buffering (go on ask…)
I ain’t askin’ - your responses would go in one eye and out the other ;). If I was going to by a BJr and tweak it, I would have a pro do that type of mod…
I dunno, haven’t played one yet, but I’ve heard good things. Somebody in this thread or another one here bought one and sounded happy, though he griped about having no footswitches for the “tweaks”. I’ve played a Rebel 20 and thought it totally rocked, and the price differential between those two is not that wide.
All the same price too. It’s great I can use my own guitar, though. Till then, I’ll use Nate Savage as my teacher. So many exercise and free too!
Once upon a time I was jonesing for The Beatles “Rock Band”, and I still may get it, but I’ll wait till the guitar prices come down. If I don’t like it, I can always give it to my grandson Julian.
Thanks
Q
That was me, and HELL YES I’M HAPPY!! Great little amp with so many usable tones and loud enough for a band situation. Still not happy that there isn’t any footswitch to switch between channels, but it’s a minor thing when you’ve got a decent overdrive pedal which I do (OCD). Every time I bring it to a session, people are impressed by my tone. Highly recommended.
Speaking of amps, I just picked up a early-90’s Samson era Matchless DC-30 combo. Another great amp. In fact, one of the top 25 most valuable according to Vintage Guitar mag. I still like the Tweaker better though…
Jeez, man, stop waffling and tell us what you really think! 
Just curious – the Tweaker doesn’t have channels per se; what is it you want to be able to switch (tight/bright, vintage/modern, yadayada) ? Can you tell us about the tweaks? Looking at all the controls, I start out thinking OMG MOST VERSATILE AMP EVER! Then I read about each tweak, and they kind of add up to a bunch of EQ cut/boosts. Is there really that much variety in them in the real world? What kind of material shines with this amp for you?
I’d like a footswitch to switch between the “clean” and “hot” gain settings. I’ll go over each tweak switch on the front of the amp from left to right:
**
Vintage/Modern** Master volume switch: The “Modern” setting basically gives a little bit of a low-mid boost to give the tone a little more warmth. Great for playing live where you may need a little more of that depending on the room. when I’m recording it, I’ll usually use the “Vintage” setting.
USA/AC/Brit EQ switch: Each one of these settings mimic the EQ stages of Fender, Vox, and Marshall amps, respectively. Basically, it copies the frequency cutoffs between the treble, middle, and bass from each maker. I could go into a long description about what each one sounds like, but I don’t have the time. Suffice to say, each one is pretty close. I’ve owned Fenders and Marshalls, and I can tell you from experience that those particular settings are very convincing. Never owned a Vox, so I can’t tell you about that one, but it sounds pretty nice.
Hot/Clean Gain switch: Does pretty much what it says. The clean setting is very nice and starts to break up around 3 'o clock on the knob. The hot setting gets pretty hot. You’ll even get a nice metal tone out of it if you crank the gain knob all the way up. I prefer to have it set to clean with the knob set to about 4 'o clock. Gives me a good basic rock rhythm tone that I can make dirtier with my OCD or clean up by backing off the guitar volume a little.
Bright/Normal switch: Bright setting is just a high end boost. Adds a little spank and twang. Good for playing country music if you’re not playing a Tele
Tight/Deep: Deep setting boosts the bass frequencies. Don’t use this one much. Probably good for jazz tones but I usually just keep it on Tight.
It’s a great all-around amp. Capable of doing pretty much any genre of music you’re into. Another cool feature is it’s ohm setting is switchable between 4, 8, and 16, allowing you to play through any kind of speaker cabinet you want. Most of the sessions I’ve been playing lately have had speaker cabs at the location. It keeps me from having to lug a big heavy speaker cab everywhere. 