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I actually moved out of an apartment because the woman who moved in upstairs from us played Indian music loudly.  Everyone played music loudly there, so loud music wasn't a problem.  Now, the person who lived there prior to this woman had a boyfriend in the merchant marines, and when he came in from the sea he "came in from the sea".  We got loud music at all hours to play over the other noises.  But she had good taste in music (or at least similar to mine) and we were newlyweds or close enough to count anyway and so would just join in as long as there was good music playing.  James Taylor, America, etc. 

But when the Indian woman moved in and had similar habits, well it's just not the same trying to get things going with all those cymbals and crazy partial-tones.  I guess I've just got ears that are too Western to appreciate that music.  So, we weren't having fun and we weren't sleeping.  So we moved. 

- Zurf

Pick a song he knows and has simple open chords (or can be transposed to them).  Show him the chords.  Let him practice getting the chords out without buzzes and muffled strings and transitioning between them.  That's enough for a couple of weeks practice at least.  You'll think of the next step by then.

- Zurf

Thanks to all for your help, and especially to Jerome for taking the time to type up such a thorough answer!

I do keep the guitar on a stand by my desk and play it a little at a time throughout the day, plus usually play for 1/2 hour to hour each night.  However, I have gotten to the point where I recognize the need for some discipline on putting theory into practice.  I'm certain that your exercise above will be well used as both picking practice and scale practice. 

- Big D

Jerome,

One the scales, do you follow a particular regemin?  Do you work through chord patterns in a scale, go in order, do a pattern that has you get through the scale in every possible order?  Any books or site resources that may be useful for arpeggio and scale exercises? 

I will likely have no more than fifteen minutes a day or so to practice scales and such and still work on the songs I want to do to keep it fun.  However, fifteen minutes of concentrated efforts will probably make a big difference.  It'll be slower than an hour a day, but I'm not in a race.  Thanks for the advice. 

James,

Thanks.  I have been undisciplined in my approach to practice.  I'll need to add some discipline.  I like your idea of having small daily goals and will surely do that. 

- Zurf

If you think a song doesn't translate directly to acoustic, then translate it indirectly!

As an example, when Clapton took Layla to acoustic on the Unplugged album, he changed the feel and presentation of the song.  I do this all the time, but for very different reasons than Clapton.  Clapton does it because he's extremely talented and capable in many styles.  I do it because I suck and can't get the licks to come out right. 

- Zurf

Once you get out west the Mason-Dixon line doesn't apply.  Then it relates more to who fought for the North and who fought for the South.  Or, whether their grandparents called it the Civil War or the War of Northern Aggression. 

Me, I come from Appalachia and speak a pretty darn good hillbilly, which doesn't change much on your relation to the Mason-Dixon Line. 

The biggest change in the North vs. South thing is food.  My uncle and father (Pennsylvanians) were taking me to college in Virginia.  We stopped for the night near the border of West Virginia and Virginia down below Pittsburgh.  In the morning, we drove a little and got into Virginia where we stopped at a Waffle House for breakfast.  The waitress brought grits for each of us.  My uncle says, "I don't want grits."  The waitress asked, "So then why did you order breakfast?"  She left the grits.  I ate them.  Although I've lived in Virginia for 24 of my 41 years, I am still a Damn Yankee.  The difference between a Damn Yankee and a Yankee is that a Yankee is someone from the North and a Damn Yankee is someone from the North who stays. 

- Zurf

Abbey Road
Abbey Road
and Abbey Road

The bass line on Oh! Darling alone is enough to put it as their best album. 

- Big D

Martin. 
For Eastern brands, Takemine has some models that I like.  They are surely a good value.  I have two Yamaha guitars and like them.  At the low end perhaps Yamaha has an edge and at the higher end Takemine.  But once you get to higher end, you may as well go to Martin.  In the middle range ($400 to $1000 US) then it's a toss up.  There are a lot of good brands, Seagull, Taylor, Martin, Breedlove, Takemine, Yamaha, etc., and so forth. 

- Zurf

All above good.  Some I would repeat, but there's no sense in that.  I'll toss out a couple more for consideration.

Big Legs, Tight Skirt - John Lee Hooker
Just a Little Bit - Magic Sam
Sweet Home Chicago - everybody
Too Hot to Handle - everybody, but I really enjoyed the Black Crows cover

- Zurf

Well thanks folks.  You've made me feel somewhat better.  I will keep not doing covers like covers, but I'm still thinking learning what a rest is for wouldn't hurt me any.  I don't recall who it was, but it was one of those mega-star '60s jazz musicians - "Learning when NOT to play says a lot more than what you DO play."  Something like that.  Terrible mis-quote I'm sure but the base concept is in it. 

- Zurf

There was an album named Neck & Neck that was a collaboration between Chet Atkins and Mark Knopfler.  One of the songs on it is "There'll Be Some Changes Made" in which Chet Atkins threatens to go pop and "start wearing makeup like Jackson and Prince..."   Anyway, the two of them go back and forth trying to show off to one another in the song.  Chet Atkins has some classic stage talk.  After Mark Knopfler more or less starts the duel, Chet Atkins says, "You've played before."  Just after blazing through some amazing work of his own, he says, "I learned this is summer Bible school."  The final solo is Mark Knopfler's during which Chet Atkins says "Don't make me look bad.  Respect for your elders," and "You're pretty good but you're no Mark Knopfler."  I recommend the album in general, and for extremely good solos that song in particular.   

For those who've heard Boots Randolph's "Yakkety Sax" cover - perhaps while watching the chase scenes of Benny Hill - you can get to hear a cover of the tune by the composer for the instrument it was intended, "Yakkety Ax".  The lyrics show Chet Atkins humble and humorous side, "I'm confessin' I never took a lesson.  All my notes are just a matter of guessin', hopin' they'll come out in a way that'll make that yakkety sound.  If your hands start clappin' and toes start tappin' I'll have done what I wanted to from way just a-playin' my yakkety ax." 

- Zurf