![]() When going around sharp corners, just take it slow and swing wide and always be checking your mirrors. Going around right curves, you don't have to stay so far left, if you are in the inside, as your trailer will just off track in the shoulder or corner apron. Keep the cab of the truck close to the white line and the trailer will off track but still be in your lane. However, you generally want to aim high in the corner when going around a left curve. "The truck police" you could call them.Īs far as going around corners, again, instinct. State and Federal DOT Officers are responsible for commercial vehicle enforcement. It also manages Amtrak, the national railroad system, and the Coast Guard. DOT: Department Of TransportationĪ department of the federal executive branch responsible for the national highways and for railroad and airline safety. Tractor tandems are generally just referred to as "drives" which is short for "drive axles". You might hear a driver say, "I'm 400 pounds overweight on my tandems", referring to his trailer tandems, not his tractor tandems. Drivers tend to refer to the tandem axles on their trailer as just "tandems". Tandem: Tandem AxlesĪ set of axles spaced close together, legally defined as more than 40 and less than 96 inches apart by the USDOT. ![]() ![]() ![]() With violinist Tiger Bell’s demonic fiddling leading the way, the band members freely careened through other styles of music, with pianist Bruce Harrison emulating McCoy Tyner in places, while guitarist Darren Favorite showed how Jeff Beck might approach bluegrass and Tommy Hannum took a space excursion with bent harmonics on his pedal steel guitar.A set of axles spaced close together, legally defined as more than 40 and less than 96 inches apart by the USDOT. The hottest moments in the show arguably came when Shelton wasn’t singing at all and turned his band members loose to do their stuff on two extended psycho-bluegrass instrumentals. He had to read the lyrics off a sheet, as it was his third time singing it on a stage. He did several songs from his most recent 1994 album, “Love and Honor,” including the kiss-off tune “Baby, Take a Picture,” “Thanks a Lot,” “Then for Them” and the warmly rocking “Lola’s Love.”įor his encore, Shelton sang “Junk Cars,” a novelty tune about a fellow who just loves a car up on blocks. While not quite claiming them as his own, he also did commendable versions of Harlan Howard’s sad ballad “Life Turned Her That Way” and the old Ned Miller hit “From a Jack to a King.” Other covers included the Beatles’ “Yesterday,” Bobby Womack’s “It’s All Over Now” and the Killer’s “Great Balls of Fire.” While the actual Roy Orbison tune in the set, “Pretty Women,” was done in rote, bar-band fashion, Shelton and his band put some unique rhythmic movement into the Hollies’ “Bus Stop,” which Shelton sang as Gene Pitney might have done it, which is not too shabby at all. That he was able to make a bravura, Orbison-style showstopper out of fare as vacant as a “Statue of a Fool” suggests that Shelton can achieve more with his voice, as did his delivery on some of the covers in the set. Instead, much of the time he sounded like a voice pulled out of a chorus, able to sing well, but without the personality or palpability of the great country singers. With such depth-defying material, it’s no surprise that Shelton’s strong, full voice only rarely injected feeling into the proceedings. The latter, for instance, is part of a whole slew of recent mawkish formula tear-jerkers in which a parent or grandparent shares a cliched encouraging catch-phrase with a youngster, who then gets to repeat it back in a new ironic context decades later when Dad or Gramps is a drooling wreck, and then God gets a few licks in the last verse, reprising the phrase with inspirational overtones.Īfter you’ve heard the formula in a half-dozen songs, it’s enough to make one want to go have a good manly barf-out by the tree Bobby Goldsboro planted for “Honey.” It’s nigh on impossible to listen to songs such as “Love Without You,” “I’ve Cried My Last Tear for You” and “Keep It Between the Lines” without picturing teams of cynical hacks sitting in air-conditioned offices cranking out the tunes like they were ad copy or legal clauses.
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