While in the studio, Brodsky performed a couple of her tunes as well, and below you can watch “Origami Cranes” and “Born Again” – the latter of which is featured on her latest LP.
With her minimal ukulele playing, Brodsky’s quirky lyrics and hooky writing style shines brightly. Check it out below!
For tour dates, album details and much more, visit emilynbrodsky.net.
In the world of heavy metal, hot guitarists are a dime a dozen.
Yet only a precious few stand the test of time and become enduring guitar gods.
Randy Rhoads was one such player. Joining forces with singer Ozzy Osbourne in 1979, Rhoads burst onto the metal scene like a bolt from the blue.
He was blessed with dazzling chops and an innate comprehension of music theory, and his style had a perfect blend of flash and melodic structure.
Flowing legato sections segued to impossibly fast, palm-muted picking passages; incendiary trills and daring chromatic maneuvers coexisted with classically influenced melodies—all of which were derived from a seemingly inexhaustible supply of scales and arpeggios and laid out across an ever-shifting rhythmic landscape.
What's more, Rhoads was so precise that he could seamlessly double-track anything he played, for maximum sonic density.
Sadly, only three recordings—Blizzard of Ozz, Diary of a Madman, and Tribute—captured Rhoads' genius before a tragic airplane crash, in 1982, cut his life short. But the musicianship that lies within those grooves is as stunning and inspirational today as it was then.
Sequences and Scales
Rhoads would often sprinkle a solo with a flurry of pentatonic pull-offs such as those in Fig.1. Built from the A minor pentatonic scale (A-C-D-E-G), this lick is inspired both by the opening moments of the first solo in "Mr. Crowley" and by the fill just before the last verse of "I Don't Know." It's interesting to note that while Rhoads possessed the facility to rip through lines such as these using alternate picking, he often chose a legato approach for a smoother, more flowing outcome.
Fig. 2 features a three-notes-per-string legato scale run inspired by the solos in "Crazy Train,""Suicide Solution," and "Mr. Crowley." This line zips up the A natural minor scale (A-B-C-D-E-F-G) in a blinding flash of hammer-ons. Make sure you hammer firmly onto every second and third note, striving for equal volume of the pick attacks.
Blues Licks and Mixed Scales
Rhoads was fond of the blues scale (1-f3-4- f5-5-f7), and often milked its flatted 5th for all it was worth. For example, notice the emphasis on the Bf in Fig. 3A, an E blues (E-G-A-Bf- B-D) lick inspired by the opening phrases of the "I Don't Know" solo. Rhoads often mixed blues-scale licks with diatonic scales, and modes such as Aeolian (natural minor), Phrygian (1-f2-f3-4-5-f6-f7), and harmonic minor (1-2-f3-4-5-f6-7).
Reminiscent of the "Crazy Train" solo, Fig. 3B offers a composite of F# Aeolian (F#-G#-A-B-C#-D-E) and F# blues (F#-A-B-C-C#-E).
Chromaticism
Chromaticism is another hallmark of Rhoads's soloing style. His chromatic techniques ran the gamut from the simple use of tension tones (notes that lie outside of pentatonic and diatonic scales) all the way to full-blown chromatically modulating passages such as the ones found in Figs. 4A-B.
Fig. 4A is similar to a move Rhoads used in "S.A.T.O.," where a minor-3rd hammer- on is moved down in half steps. Notice that the lick starts on two solid chord tones (G and E, the f3rd and root), then chromatically targets two resolving tones (D and B, the f7th and 5th). Fig. 4B features one of Rhoads's pet motifs: a descending fournote slice of a scale pattern—in this case, F-E-D-C of the D minor scale (D-E-F-G- A-Bf-C). Ascending chromatically, the palm-muted quadruplets hit sonic fruition with an Af-G-F sequence over the Fm chord.
Fig. 5 features another of the guitarist's favorite chromatic ploys, this one involving major and minor triads, along with partial 7th-chord arpeggios, moving along the top two strings.
In this example, an A minor triad (A-C-E) moves up in half steps, then segues to the upper portion of an Am7 arpeggio (A-C-E-G), which also ascends chromatically. Fig. 6 breaks the bounds of chromaticism with a pick-tapped trill that ascends in pitch via a gradual bend executed with the fret hand's 4th finger. Notice that, again, the example begins and ends on solid chord tones (G# and B [3rd and 5th], and B and D [5th and f7th]).
Tapping and Trills
Unlike many of his peers in the early Eighties, Rhoads avoided jumping on Eddie Van Halen's tapping bandwagon. When he did choose to tap, though, the results were stunning, as the sequence in Fig.7 reveals. In the style of the breathtaking climax of the "Flying High Again" solo, the example follows a double-tap/pull-off/hammer-on sequence constructed from triads that outline the changes. Some of the most dazzling Randy Rhoads moments are often mistaken for tapped excursions.
One such passage is the open string- pull-off extravaganza that occurs midway though his solo in the live version of "Suicide Solution," where he dispatches a sizzling array of triads and partials along the 1st [Fig. 8] and 2nd strings.
Rhoads also had a penchant for classically influenced trills (two notes played in rapid alternation). He would use them to outline the chord tones of specific changes, as seen in Fig. 9, where the notes of an Ff7 arpeggio (F-Af-Cf-D) are alternated with notes a half step below.
The Solo
The solo [Fig.10] is a 15-bar rocker in the style of songs like "I Don't Know,""Flying High Again," and "Crazy Train." The first half (measures 1-8) sits firmly in the key of F# minor, riding a i-fVI-fVII-i-fIII-iv-Vsus-V progression (F#m-D-E-F#m-A-Bm-C#7sus4-C#). Measures 9-12 serve as a bridge, with modulating I-vi cadences (D-Bm and E-C#m) in the temporary keys of D and E major. Measure 13 signals a march back up (fVI- fVII-v-i; D-E-C#m-F#m) to the resolving i-fVII-i (F#m-E-F#m) chordal riff.
The solo opens, in typical Rhoadsian fashion, with a head-turning pinch-harmonic bend. To execute this two-octave harmonic, attack the G string aggressively with the side of your pick, simultaneously brushing the string with the side of your pick hand's thumb; the ideal position for this contact is right above the rear edge of the neck pickup.
Next comes a pull-off flurry made up of F# blues and F# Aeolian scales, followed by a tremolo- picked E major pentatonic (E-F#-G#- B-C#) climb. (Tremolo picking, in which notes are picked as rapidly and continuously as possible, was another Rhoads staple). An F# minor pentatonic (F#-A-B-C#-E) wrapup (measure 4) mirrors the opening lick.
In measure 5, a short melodic passage capped with a quick trill nods to "Crazy Train," then segues to a brief Rhoads motif (see Fig. 4B). Instead of moving chromatically, as expected, the motif spills into a t h ree-notes-per- s t r ing B Dor ian (B-C#-D-E-F#-G-F#) run (see Fig. 2). C# Phrygian dominant (C#-D-E#-F#-G#-A-B; fifth mode of F# harmonic minor) provides the melodic framework for the chromatically enhanced legato phrasing of bars 7-8.
The fireworks in measures 9-10 are inspired by the open-string pull-off concepts described in Fig. 8. Accenting the first and fourth note in each sextuplet should give you the propulsion needed for this rapid passage. A six-note pattern—down five scale steps, then up one—lies at the heart of the E major pentatonic phrase in measure 11. Visualize the pattern before putting the entire phrase together. In measure 12 a C#m7 arpeggio is laid out almost entirely on the G string; keep your eye on the 9th fret in order to hit it precisely.
The trills come fast and furious in the next measure. Targeting the notes of a D major triad (D-F#-A) will guide you through this quarter-note-triplet passage. Finally, a relatively simple run up the E major pentatonic scale and a pair of dyads (F#/C# and E/B) provide a logical and musical conclusion to the solo. Now that we've gone through the solo bit by bit, look back over it and take note of its the rhythmic diversity—yet another characteristic of Rhoads's brilliant soloing work.
Randy Rhoads, one of rock’s most brilliant and original guitarists, made his name on the strength of his spectacular playing on Ozzy Osbourne’s first solo efforts, Blizzard of Ozz and Diary of a Madman.
In this edition of In Deep, we’ll take a look at the live version of the Ozzy/Randy classic “I Don’t Know,” included with the 30th anniversary remaster of Blizzard.
Let’s begin with a quick rundown of Randy’s gear. On Blizzard of Ozz, Randy tuned his guitar to concert pitch (A=440) and used a standard .009–.042 string set.
For Diary, he tuned down one half step and switched to a set of .010–.046 strings. His main guitars during his time with Ozzy were his 1970 white Les Paul Custom, his custom-made Karl Sandoval polka-dot Flying V and his custom-made Jackson Flying V guitars: one black, and one white, which he christened the Concorde.
Randy’s primary amplifiers were Marshall model 1959 100-watt heads, most likely early Seventies versions with metal fronts, and he used a variety of MXR effect pedals, such as the Distortion +, Stereo Chorus, Flanger and 10-Band Graphic Equalizer, along with a Vox Cry Baby wah.
For the live version of “I Don’t Know,” Randy added a subtle twist to the song’s intro. As shown in FIGURE 1, after sliding down from the 17th-fret A root note on the sixth string, he plays a sequence of power chords—A5, B5/A and C5/A—against a palm-muted open A-string pedal tone, followed by G5-D5 and then a restatement of the opening theme.
In bar 8, he performs a series of pull-offs across all the strings except for the high E. For the first three C-B pull-offs on the B string, use a hard pick attack and your thumb graze the string to create the squealing “pinch harmonics” (P.H.), as Randy does.
On the studio version of the song, Randy played a simpler version of this pull-off lick, as illustrated in FIGURE 2a. In every version of “I Don’t Know,” Randy played something slightly different in this spot, which comes right before the verse vocal enters. Another signature variation is to play fast pull-offs on the G string from different fretted notes, as Randy often did at the end of the first chorus. An example of this is shown in FIGURE 2b.
The primary riff appears many times throughout the song, and Randy always spun variations on it, such as adding artificial and natural harmonics in different spots. FIGURE 3a includes a pinch harmonic on A in bar 1 and natural harmonics (N.H.) over both the G and D chords in bar 4. A natural harmonic is sounded by lightly laying a fret-hand finger directly above a specific fret as you pick the string. FIGURE 3b offers a string-bending variation that Randy would use across bars 3 and 4 of the riff.
Another great variation is the “neck-bending” trick shown in FIGURE 4. After sounding a natural harmonic at the G string’s fifth fret, secure the body of the guitar while pushing against the back of the headstock, which will cause the note to drop in pitch.
Exercise caution, however—Slash once cracked the neck on his favorite Les Paul by pushing just a little too hard. Randy’s adventurous nature inspired him to creatively interpret each section of the song, as he often did during the pre-chorus as well. FIGURE 5 illustrates his approach to the first pre-chorus on the new live version. Notice the ways in which he approaches the figures over F/G in bars 2, 4 and 6.
The bridge of “I Don’t Know” shifts to half time, and here Randy arpeggiates most of the chords in the progression by picking each note individually in succession and allowing them to sustain. See FIGURE 6. Randy’s live guitar solo includes a few subtle differences from the one he plays in the studio version.
The first four bars, based on the G blues scale (G Bb C C# D F) in 15th position, are shown in FIGURE 7. FIGURE 8 illustrates the next four bars, wherein Randy bends the B string while tapping onto the fretboard three frets higher with the edge of the pick, then trills between the open G string and Bf at the third fret while pushing on the string behind the nut, raising the pitch.
FIGURE 9 shows the end of the solo, with bars 1 and 2 based on a melodic “shape” that chromatically descends the fretboard, moving into a classic G blues scale/Aeolian (G A Bb C D Eb F) lick in bar 3.
This video is bonus content related to the July 2011 issue of Guitar World. For full print reviews, lesson tabs and more, look for the July 2011 issue of Guitar World on newsstands now! In this series of videos, Guitar World's Andy Aledort will break down everything you need to know to play the newly released live version of Ozzy Osbourne's "I Don't Know," featuring the otherworldly guitar playing of the late Randy Rhoads. The full transcription of the song, along with detailed notes can be found in the July 2011 issue of Guitar World. Figures 2-4
This video is bonus content related to the July 2011 issue of Guitar World. For full print reviews, lesson tabs and more, look for the July 2011 issue of Guitar World on newsstands now! In this series of videos, Guitar World's Andy Aledort will break down everything you need to know to play the newly released live version of Ozzy Osbourne's "I Don't Know," featuring the otherworldly guitar playing of the late Randy Rhoads. The full transcription of the song, along with detailed notes can be found in the July 2011 issue of Guitar World. Figures 5-6
This video is bonus content related to the July 2011 issue of Guitar World. For full print reviews, lesson tabs and more, look for the July 2011 issue of Guitar World on newsstands now! In this series of videos, Guitar World's Andy Aledort will break down everything you need to know to play the newly released live version of Ozzy Osbourne's "I Don't Know," featuring the otherworldly guitar playing of the late Randy Rhoads. The full transcription of the song, along with detailed notes can be found in the July 2011 issue of Guitar World. Figure 7
This video is bonus content related to the July 2011 issue of Guitar World. For full print reviews, lesson tabs and more, look for the July 2011 issue of Guitar World on newsstands now! In this series of videos, Guitar World's Andy Aledort will break down everything you need to know to play the newly released live version of Ozzy Osbourne's "I Don't Know," featuring the otherworldly guitar playing of the late Randy Rhoads. The full transcription of the song, along with detailed notes can be found in the July 2011 issue of Guitar World. Figure 8
This video is bonus content related to the July 2011 issue of Guitar World. For full print reviews, lesson tabs and more, look for the July 2011 issue of Guitar World on newsstands now! In this series of videos, Guitar World's Andy Aledort will break down everything you need to know to play the newly released live version of Ozzy Osbourne's "I Don't Know," featuring the otherworldly guitar playing of the late Randy Rhoads. The full transcription of the song, along with detailed notes can be found in the July 2011 issue of Guitar World. Figure 9
IK Multimedia has announced that it's shipping iRig 2, the sequel to the most popular guitar interface of all time.
In 2010, the original iRig allowed guitar and bass players to plug into their iPhone and use their mobile device to play, practice and record with apps like IK's AmpliTube, Apple's GarageBand and thousands more.
Five years later, and with more than a million units sold, IK is introducing iRig 2.
A significant upgrade, it improves on its predecessor by providing better sound quality and more universal compatibility than ever before; and it does this while maintaining the convenience and ease-of-use that have made it such a staple piece of equipment in the arsenal of millions of musicians around the world.
The universal mobile guitar interface
Just like its predecessor, the new iRig 2 plugs directly into the mini jack input of a mobile device. It lets musicians send an instrument signal to apps, such as IK's AmpliTube, while also providing on-board output for real-time monitoring.
iRig 2 now comes with gain control, which lets users precisely adjust the input gain of their instrument to match their mobile device. This means that it can be customized to always provide the best sound, no matter what type of guitar, bass or line-level instrument or device is used.
In other words, iRig 2 sounds just as good connecting a wailing humbucker electric guitar to an iPhone 6 as it does a jazzy archtop or mellow electric piano to a Samsung Galaxy Note 4.
iRig 2 now not only works with iPhone, iPad, iPod touch and Mac, but that it also supports the complete line of new Samsung Professional Audio devices. Using the Android version of AmpliTube, iRig 2 is fully compatible with Note 3, Note 4, Galaxy Edge, Galaxy S5 and also the forthcoming S6.
Plus iRig 2 now also offers compatibility with Android 5 devices. As the most convenient way to bring a guitar signal into a mobile device, it lets musicians use the hundreds of available tuning and recording apps available, such as the forthcoming UltraTuner for Android.
Live flexibility and integration
When it comes to playing live on stage or with a band, iRig 2 provides multiple new features that offer even more flexibility and integration than before.
Its new 1/4-inch amplifier output, in addition to its traditional 1/8" headphone output, allows iRig 2 to be plugged directly into a guitar amplifier or powered speakers without an adaptor. This helps to keep all cable connections tidy and organized.
A new FX/THRU switch allows iRig 2 to send either a wet or dry signal through the device. This means that guitarists can play live with an amplifier and use their mobile device with a tuner app, such as IK's UltraTuner, or a recording app, such as IK's iRig Recorder, to record a dry signal for further processing.
iRig 2 also comes with a clip and a Velcro strip so it can be firmly installed on a microphone stand, avoiding accidental disconnection.
Apps galore
iRig 2 is ready to go right out of the box. It comes with a powerful cross-platform suite of apps and software that includes free versions of AmpliTube for iOS, Mac and Android Samsung Pro Audio.
Galaxy Note 4, Galaxy Note Edge owners will receive AmpliTube LE for Samsung Pro Audio as a complementary download courtesy of the included Galaxy Gifts app bundle that comes with their mobile device.
And while iRig 2 is made to pair with AmpliTube, it's also compatible with many other mobile music creation apps and utilities, such as Apple's GarageBand, Samsung's Soundcamp and literally thousands of others.
More features at the same price
The new iRig 2 interface is now available from select music and consumer electronics retailers worldwide, and from the IK Online Store, at the same price of the original iRig: Just $39.99 (excl. taxes).
When Ozzy Osbourne was booted from Black Sabbath and went solo in 1979, his quest for a heavy-metal soulmate ended with his discovery of Randy Rhoads.
The pair would go on to pen such classic metal cuts as “Crazy Train,” “I Don’t Know,” “Mr. Crowley” and “Flying High Again,” among others. Unfortunately, Rhoads was around long enough to record only two full-length albums with Ozzy: Blizzard of Ozz and Diary of a Madman (the live album, Tribute, was released posthumously in 1987).
On March 19, 1982, while “joyriding” in a small plane piloted by Ozzy’s tour bus driver, Rhoads was killed when the pilot flew too close to the band's parked tour bus, clipped its wing and careened into a nearby house.
A fan of classical music, Randy Rhoads was one of the first American guitarists to successfully incorporate classical music elements into heavy metal. (“Euro-metal” guitarists, including Ritchie Blackmore, Yngwie Malmsteen, Uli Jon Roth and Michael Schenker, had also experimented with melding the two genres.)
Reportedly, Rhoads was contemplating retiring from rock after the tour to study classical guitar at UCLA. In this lesson, we’ll take a look at examples in the style of Rhoads’ classically influenced solo piece “Dee” as well as “Diary of a Madman” and “Goodbye to Romance,” two other Ozzy favorites that prominently feature acoustic guitar.
Randy pulled out all the stops for Diary of a Madman’s title track, an epic six-minute-plus piece packed with acoustic and electric guitar textures. Its intro, similar to Figure 1, is structured around an elaborate arpeggio passage reminiscent of a modern classical guitar etude by Leo Brouwer (entitled "Etudes Simples: VI," published in 1972) which Rhoads likely learned in his classical guitar studies. Use economy picking to tackle these arpeggios throughout, employing a single pick stroke to sound successive notes found on adjacent strings, as indicated.
Rhoads also had a talent for composing striking ballads, as evidenced by the track “Goodbye to Romance” (Blizzard of Ozz), the first song Ozzy cowrote with Rhoads.
Penned as Osbourne’s personal farewell to Black Sabbath, the song blends clean-tone electrics with steel-string acoustic sounds, resulting in an almost “harpsichord”-like tonal quality. Figure 2 depicts a composite in-the- style-of arrangement.
“Dee” (Blizzard of Ozz), which inspires Figure 3, is a lilting waltz (3/4 meter felt “in one”) that Randy dedicated to his mother, Delores. (Perhaps as a further tribute to his mom, the majority of "Dee" falls in the key of D.)
With this track, Rhoads used one of his favorite acoustic multitracking approaches: overdubbing a steel-string acoustic on top of his primary nylon-string part for added sparkle (he also did this in “Diary of a Madman.") Note the pick-hand fingerings included below the notation. For further insight into Randy’s classical guitar technique, check out the “Dee” studio outtakes at the end of the Tribute album.
Check out the videos below and the complete tabs below that.
I sat down with Mark Pirro, bass guitarist for the Polyphonic Spree and Tripping Daisy, to talk about the greatest of DIY recording techniques: recording something in the bathroom.
Pirro had a completely unique take on the subject, using the bathroom as a mixdown echo chamber!
Some background first: Pirro is one of those sonic geniuses who always has an ear for the unique. When Polyphonic Spree frontman Tim DeLaughter was looking for a lo-fi vocal sound, Pirro invented the Copperphone, a microphone that uses components from vintage communications equipment to achieve a limited bandwidth frequency response similar to an AM radio or early recordings.
The Copperphone (and his other mics) are now handmade by his Texas-based company, Placid Audio, and are quickly becoming industry standards for low-bandwith recording in many studios. (Full disclosure: I use a Copperphone for my vocals in concert and on recordings. It freakin’ rocks.)
Things You’ll Need to Make Your Echo Chamber:
• Bathroom (preferably tiled) • Some sort of recording setup (digital audio workstation/tape machine or four-track) • At least one powered studio speaker monitor • At least one microphone (We used a Placid Audio Copperphone in the pictures, but other recording mics can work as well.) • A few long mic cables • Some pre-recorded tracks you wish to re-amp in order to add some echo.
STEP 1: Clear your bathroom of all sound-absorbing materials such as shower curtain, towels, rugs … even the roll of toilet paper. You want to start out with the bathroom as reflective as possible to gain the maximum amount of echo. Hopefully your bathroom is at least partially tiled, as this will be a big factor in generating reflections in a relatively small space.
STEP 2: Take at least one of your powered studio monitors and place it somewhere in the bathroom. (You can use both if you want a more complex sound.) The monitor will serve as the driver for the track you wish to send to your bathroom echo chamber. There are no hard-and-fast rules on where to place your monitor; however, some experimentation will be required in order to find the best sounding location.
STEP 3: Now place your microphone somewhere in the bathroom, preferably some distance away from your powered speaker. Once again, experimentation will be key. The microphone will serve to capture the echoes and reflections to feed back to your DAW or recording rig. You can, of course, use two mics if you want to attempt a stereo return for your chamber.
STEP 4: In your DAW or recording rig, set up a track for recording and assign it to your capture microphone. If you are using two mics, assign both for recording. Be sure the monitoring feature of your armed recording track is off. This is important in order to keep your recorded track from "hearing" itself and creating a nasty feedback loop. Next, solo the track or tracks you want to send to your echo chamber and start recording. You can adjust the playback level to your speaker as well as the input level of your microphone in order to control the record level of your re-amped track/tracks.
STEP 5: Now that you have "captured" the echo, you can listen back and here the result with your dry channel. You may get something pleasing and usable right off the bat, but chances are you might have to try moving the locations of the speaker and/or microphone to improve the results. Once you get something you are happy with, you can further experiment with your re-amped echo tracks during mixdown by tailoring with EQ or adding effects like delay or additional reverb.
Make sure to share this article on Facebook, Twitter and elsewhere. Be sure to insert a fart joke in the comments.
… and because I want you to smile, here’s Mark and the Polyphonic Spree with their biggest hit, "Light and Day." Look for Pirro holding the ultra-freaky Musicvox Spaceranger bass.
Just remember kiddies, it ain’t rock and roll until something’s recorded in the bathroom.
Shane Speal is the "King of the Cigar Box Guitar" and the creator of the modern cigar box guitar movement. Hear the music, see the instruments and read about his Cigar Box Guitar Museum at ShaneSpeal.com. Speal's latest album, Holler! is on C. B. Gitty Records.
The Classic Angelus returns this year as the Caparison Custom Line 2015 (CL15) model.
Every feature that makes the CL series so highly sought after among even the most discriminating of boutique players is represented here.
Each guitar is painstakingly hand-crafted to exacting standards and features a stunning master-grade, hand-selected flamed maple carved top and two new color finishes, Violin and Lemon Drop, exclusively limited to 2015.
Caparison have refined the tried and tested Angelus into an even more exquisite and luxurious instrument.
The CL15 is designed to give you that wonderfully familiar vintage classic feel but with the unique playing experience that you only get with a Caparison. With all the versatility, quality, tonality and superb playing comfort that has come to be expected of Caparison Custom Line Models.
• Custom Switching Options • Limited Edition 2015 Model • Caparison Designed Pickups • Select Master Grade 5A Flame Maple Top
Designed, manufactured and hand finished in Japan the Caparison Angelus CL15 is now available for this year only at a retail price of $4,499 USD.
Fresh off their Culture Clash world tour, the Aristocrats rewrote their own rules for their third studio album, Tres Caballeros, which is slated for release in late June.
After two fairly raw trio albums, guitarist Guthrie Govan (Steven Wilson, Asia/GPS), bassist Bryan Beller (Joe Satriani, Dethklok) and drummer Marco Minnemann (Steven Wilson, Joe Satriani) set up camp at Sunset Sound studios in Hollywood, where Led Zeppelin, the Rolling Stones and Van Halen recorded landmark albums.
The result: Nine new compositions of greater sonic depth and breadth than ever before, with unique textures and lush layering, augmenting the band’s ability to improvise individually and as a group at the highest levels.
But not to worry—it’s all still tempered with a steadfast refusal to take themselves too seriously, and the Aristocrats are still having more fun than a fusion band has any right to have.
“We’ve learned a lot since we started this band—four years, three studio albums, two live DVDs and about a billion notes ago," says guitarist Guthrie Govan. "I think our latest offering reflects this in all kinds of ways.
“The decision to road-test our new material in front of a live audience before commencing the recording process; the choice to record in a studio that had some thoroughly inspiring rock and roll "mojo"; our sudden urge to become more bold and experimental with overdubs rather than feeling pressure to record exclusively in a strict “trio” format ... all of this has had some kind of positive effect on the way the new record came out. Plus, I think the material on this album is some of the most interesting stuff we’ve ever written for each other, so here’s hoping our noble listeners will like the finished product as much as we do!”
The Aristocrats also have announced summer tour dates, and you can check them out below. They'll be supported by fellow rock/fusion power trio the Travis Larson Band.
The Aristocrats Tres Caballeros North America Tour, Summer 2015:
Mon 6-Jul Sacramento, CA Harlow's
Tues 7-Jul San Francisco, CA Slim's
Wed 8-Jul Santa Cruz, CA Don Quixote's
Fri 10-Jul Portland, OR Star Theater
Sat 11-Jul Seattle, WA Studio Seven
Sun 12-Jul Vancouver, BC, CANADA Rickshaw Theatre
Tues 14-Jul Boise, ID Reef
Wed 15-Jul Salt Lake City, UT Club X
Fri 17-Jul Denver, CO Quixote's True Blue
Sat 19-Jul Omaha, NE Slowdown
Mon 20-Jul Des Moines, IA The Gaslamp
Tues 21-Jul St. Paul, MN The Amsterdam Bar And Hall
Fri 24-Jul Chicago, IL Reggie's
Sat 25-Jul Indianapolis, IN Birdy's
Sun 26-Jul Cincinnati, OH The Mad Frog
Tues 28-Jul Cleveland, OH Beachland Ballroom
Wed 29-Jul Pittsburgh, PA Hard Rock Café
Thur 30-Jul Columbus, OH Skully's
Fri 31-Jul Detroit, MI Token Lounge
Sat 1-Aug Toronto, ON, CANADA Mod Club
Sun 2-Aug Ottawa, ON, CANADA The Rainbow Bistro
Tues 4-Aug Montreal, QC, CANADA TBD
Wed 5-Aug Woodstock, NY Bearsville Theater
Fri 7-Aug Boston, MA The Middle East
Sat 8-Aug New York City, NY Irving Plaza
Sun 9-Aug Philadelphia, PA North Star Bar
Mon 10-Aug Washington, DC Jammin' Java
Tues 11-Aug Raleigh, NC Pour House
Thur 13-Aug Charlotte, NC Tremont Music Hall
Fri 14-Aug Atlanta, GA TBD
Sat 15-Aug Nashville, TN The High Watt
Sun 16-Aug St. Louis, MO Old Rock House
Mon 17-Aug Kansas City, MO The Scene
Tues 18-Aug Tulsa, OK The Vanguard
Thur 20-Aug Houston, TX Fitzgerald's
Fri 21-Aug Austin, TX The Roost
Sat 22-Aug Dallas/Ft. Worth, TX The Sanctuary
Mon 24-Aug Albuquerque, NM Launchpad
Wed 26-Aug Phoenix, AZ Club Red
Thur 27-Aug Mexicali, MEXICO Teatro De Estado
Fri 28-Aug San Diego, CA TBD
Sat 29-Aug Corona/Big Bear, CA TBD
Sun 30-Aug Los Angeles, CA King King
Since the guitar's inception, there have been countless talented players who could make the instrument sing, but it wasn't until the mid-Sixties and the arrival of the wah pedal that guitarists could make it cry.
Perhaps because it entered the collective consciousness at the hands—or feet, rather—of guitar gods like Jimi Hendrix and Eric Clapton, the wah pedal has been a vital part of the rock and roll lexicon since it was introduced by Vox, finding favor with guitarists who wanted to bring a whole new level of expressive possibilities to their playing.
More than any other effect pedal, the wah has played a key role in some of modern guitar's shining moments, from Slash's epic, ascending run in "Sweet Child O' Mine" to Eddie Hazel making wah synonymous with funk in the Seventies to Hendrix simply doing that voodoo that he did so well.
In honor of its place in rock history, the Guitar World staff recently picked out the very best wah solo moments of all time, each a snapshot of a great guitarist letting his voice be heard through a truly rock and roll pedal. Of course, we considered the quality of the solo itself and the song's iconic status in the world of rock and roll.
25. "1969"— The Stooges (The Stooges, 1969) Soloist: Ron Asheton
Raw, visceral and distorted to the max, Ron Asheton's solo on this Stooges classic may not win any composition awards, but it was the perfect compliment to Iggy Pop's gutteral snarl.
24. "Walk Away"— James Gang (Thirds, 1971) Soloist: Joe Walsh
It comes in just at the end of the song, but Joe Walsh's solo spot on "Walk Away" is a bit of a late-in-the-game show-stealer. Since 2007, Walsh has had his very own signature wah made by Real McCoy Custom.
23. "Cult of Personality"— Living Colour (Vivid, 1988) Soloist: Vernon Reid
"Cult of Personality" was the song that instantly made Vernon Reid a household name in the alt metal community, combining manic use of the wah with a stream-of-conscious flurry of notes straight from the mind of a true guitar junky. Even more impressive, Reid stated in a 1988 Guitar World interview that the solo was a first take.
22. "25 or 6 to 4"— Chicago (Chicago, 1970) Soloist: Terry Kath
On the second half of a lengthy guitar solo on this Chicago classic, Terry Kath introduces a distortion-drenched, wah-driven guitar line that melds incredibly well with the song's horn section. Fun fact: Kath was once referred to as "the best guitar player in the universe" by Jimi Hendrix.
21. "Maggot Brain"— Funkadelic (Maggot Brain, 1971) Soloist: Eddie Hazel
On the opposite end of the the spectrum from the ultra-tight, ultra-clean guitar sounds many listeners identify with funk is Eddie Hazel's tone on this 10-plus-minute track from Funkadelic, which features no vocals and serves primarily as a vehicle for Hazel to explore the deepest reaches of space in his wah-wah-powered mothership.
20. "Stop"— Jane's Addiction (Ritual de lo habitual, 1990) Soloist: Dave Navarro
Written all the way back in 1986, it would take four years for this Ritual de lo habitual cut to be unleashed upon the music world as large, climbing to No. 1 on the Billboard Modern Rock Tracks behind the strength of a high-energy performance from vocalist Perry Farrell and a muscular, wah-driven lead from Dave Navarro.
19. "The Needle and the Spoon"— Lynyrd Skynyrd (Second Helping, 1974) Soloist: Allen Collins
A clear tip of the hat to Eric Clapton's solo from "White Room," Allen Collins pulls out the wah to blend Sixties psychedelia seamlessly into a bona-fide Southern-rock classic.
18. "If You Have to Ask"— Red Hot Chili Peppers (Blood Sugar Sex Magik, 1991) Soloist: John Frusciante
On this cut from 1991's mega-selling Blood Sugar Sex Magik, Chili Peppers guitarist John Frusciante turns in a sparse, stop-start wah solo fitting for the song's funk-rock minimalism. Fun fact: On the studio version, you can hear the band and production crew applauding Frusciante's guitar work as the song comes to an end.
17. "Whole Lotta Love"— Led Zeppelin (Led Zeppelin II, 1969) Soloist:
While much of the bizzare, alien soundscape in the middle section of "Whole Lotta Love" is directly attributable to Jimmy Page's groundbreaking use of backwards tape echo and Page and engineer Eddie Kramer "twiddling every knob known to man," the wah pedal does make an appearance, adding a valuable, extra dimension to Page's most otherworldly guitar work this side of the Lucifer Rising soundtrack.
16. "The Joker"— Steve Miller Band (The Joker, 1973) Soloist: Steve Miller
Perfect for all those midnight tokers out there, Steve Miller's laid-back lead work on "The Joker" doesn't go overboard on the wah, opting instead for the tasteful, restrained approach. Fun fact: This song shot back to the top of the charts in 1990, thanks to a popular ad for Levi's jeans.
15. "I Ain't Superstitious"— Jeff Beck Group (Truth, 1968) Soloist: Jeff Beck
On the debut album from the Jeff Beck Group, Beck uses this wah-laden take on a Howlin' Wolf tune to show off his mastery of the multitude of sounds one can coax out of a guitar. Somehow, he still continues to baffle us with this skill.
14. "Blue on Black"— Kenny Wayne Shepherd (Trouble Is ..., 1997) Soloist: Kenny Wayne Shepherd
Kenny Wayne Shepherd burst into the mainstream consciousness with this cut off his 1997 album, Trouble Is ... Any questions over who he was hoping to channel are laid to rest with the inclusion of a cover of "Voodoo Child" as the single's B-side.
13. "Pain and Sorrow"— Joe Bonamassa (So, It's Like That, 2002 Soloist: Joe Bonamassa
Another blues-rock revivalist, Joe Bonamassa lays out some fiery wah work on this deep cut from his sophomore album, So, It's Like That.
12. "Blinded by the Light"— Manfred Mann's Earth Band (The Roaring Silence, 1976) Soloist: Dave Flett
This tune may have originally been written by Bruce Springsteen, but it didn't become a hit—and eventually a classic—until guitarist Dave Flett and the rest of Manfred Mann's Earth Band got a hold of it for 1976's The Roaring Silence.
11. "Gets Me Through"— Ozzy Osbourne (Down to Earth, 2001) Soloist: Zakk Wylde
Split between powerful melodies and a heaping helping of shred, the solo from "Gets Me Through" sees Zakk Wylde take his Hendrix Cry Baby to the edge and back on this standout track from Ozzy's 2001 comeback record.
10. "Surfing with the Alien"— Joe Satriani (Surfing with the Alien, 1987) Soloist: Joe Satriani
"Surfing with the Alien" sees Joe Satriani put the pedal to the metal in every conceivable sense, not the least of which is his stunning work with the wah pedal.
Paired with a Tubedriver and a classic Eventide 949, the wah provides just enough control over his alien tone for Satch to weave his way in and out of an asteroid belt of notes.
09. "Turn Up the Night"— Black Sabbath (Mob Rules, 1981) Soloist: Tony Iommi
It's a rare occasion when Tony Iommi brings out the wah, but on this Mob Rules cut, the Godfather of Heavy Metal uses it too great effect, upping the aggression level one step further on what may be his most furious studio solo.
Were you expecting to see the long-winded instrumental "Say What!" from Vaughan's Soul to Soul album? Not a chance, not when this mini-masterpiece of a wah solo exists.
Even without the wah, it's one of his best-constructed, catchiest solos. This track comes from SRV's first full album with his brother, Jimmie Vaughan—which, sadly, turned out to be his last record.
07. "Bad Horsie"— Steve Vai (Alien Love Secrets, 1995) Soloist: Steve Vai
Like Hendrix before him, Steve Vai wanted to take the wah pedal to its limits, and he accomplished just that on his 1995 EP, Alien Love Secrets.
And in all due fairness to the remaining songs on the list, "Bad Horsie" remains the only track in this whole feature to have its own wah named after it.
06. "Even Flow"— Pearl Jam (Ten, 1991) Soloist: Mike McCready
"That's me pretending to be Stevie Ray Vaughan," Pearl Jam guitarist Mike McCready told Guitar World of his classic solo from "Even Flow" back in 1995.
A fitting tribute to the late SRV, the solo saw McCready break out the wah and churn out perhaps the most iconic solo of the grunge era.
05. "A New Level"— Pantera (Vulgar Display of Power, 1992) Soloist: Dimebag Darrell
Dimebag Darrell is among those guitarists that utilized the wah pedal more subtly, using it as a tone control in most cases. This isn't one of those cases.
Darrell's use of the wah on his "A New Level" solo is as surgically precise as one comes to expect from the master craftsman, lending an all new connotation to the phrase, "on a Dime."
We're going to let Kirk take this one: "There's something about a wah pedal that really gets my gut going!
People will probably say, 'He's just hiding behind the wah.' But that isn't the case. It's just that those frequencies really bring out a lot of aggression in my approach." (Read the full 1991 interview with James and Kirk here)
03. "Sweet Child O' Mine"— Guns N' Roses (Appetite for Destruction, 1987) Soloist: Slash
Known to break out the wah and fiddle around with "Voodoo Child (Slight Return)" as a live lead-in for "Civil War," Slash forged his own piece of rock and roll history with his unforgettable ascending run into one of the shining moments in Eighties guitar rock.
Bookended by the feral yowl of frontman Axl Rose, Slash makes this would-be ballad anything but with a fierce lead made possible by a stock Cry Baby wah.
02. "White Room"— Cream (Wheels of Fire, 1968) Soloist: Eric Clapton
A masterful performance on "Tales of Brave Ulysses aside," with "White Room," Eric Clapton virtually wrote the book on how the wah pedal would be used in the context of rock guitar for decades to come.
The go-to song of any guitarist trying out a new wah pedal at Guitar Center, "Voodoo Child (Slight Return)" stands as a mammoth moment in rock history, setting a mark that has yet to be breached by any ambitious guitarist with a Cry Baby and a dream.
Of the song's recording, engineer Eddie Kramer recalls that the track "was recorded the day after Jimi tracked 'Voodoo Chile,' the extended jam on Electric Ladyland featuring Traffic’s Stevie Winwood on organ and Jefferson Airplane bassist Jack Casady.
Basically, Jimi used the same setup — his Strat through a nice, warm Fender Bassman amp. Jimi’s sound on both tracks is remarkably consistent, leading some to think they were recorded at the same session.” Stevie Ray Vaughan's version is no slouch either, by the way.
Can't Stand Losing You: Surviving the Police, a new documentary based on Police guitarist Andy Summers’ memoir, One Train Later, opens today, March 20, in New York City.
The feature-length film features Summers, Sting and Stewart Copeland and tells of the band’s meteoric rise, headline-grabbing break-up and reunion 20 years later, through rare archival footage and Summers’ personal collection of photographs.
The film, which was directed and edited by Andy Grieve, who edited The Armstrong Lie and We Steal Secrets: The Story of WikiLeaks, tells of Summers’ journey from his days in the London music scene to his chance encounter with drummer Copeland and bassist Sting and the formation of the Police in 1977.
Summers’ camera captured the rollercoaster ride to fame and the Faustian trade-off between unprecedented success in the MTV era. The film starts as Summers’ prepares for the band’s 2007 reunion tour, recalling the 1983 Shea Stadium concert the marked the end in what Rolling Stone cites as one of the Top 10 Messiest Band Breakups.
The film was produced by Norman Golightly, Nicolas Cage and Bob Yari and features an original film score by Summers, who is also an executive producer. The reunion concert footage was directed by Lauren Lazin.
OPENING IN THEATERS:
• March 20 in New York: Village East Cinema and AMC Empire 25 • April 3 in Los Angeles: Laemmle’s Royal and Laemmle’s Playhouse 7
Today, GuitarWorld.com presents an exclusive lesson video for “The Congregation" by White Empress, a band that features Paul Allender, who spent 18 years as Cradle of Filth's main guitarist.
The song is from White Empress' full-length debut, Rise of the Empress, which was mixed and mastered by veteran producer Kit Woolven (Thin Lizzy, Cradle of Filth). It was released in September 2014 via Peaceville Records.
The band—which also features Mary Zimmer (ex-Luna Mortis) on vocals, Chela Harper (ex-Coal Chamber) on bass, Jeremy Kohnmann (the Awakening) on guitars and Will Graney on keyboards—is busy gearing up for a busy 2015, which sees them heading to Japan in May (You can see all the current dates below), with several more shows around the world now in the works.
Fri 5/1 - High Noon Saloon - Madison, WI
Sat 5/2 - Every Buddy's - Chippewa Falls, WI
Fri 5/8 - Metal Grill - Milwaukee, WI
Sat 5/9 - POV's 65 -Spring Lake Park, MN (Twin Cities)
BELPHEGOR / WHITE EMPRESS
Tue 5/12 Shibuya Club Quattro – Japan
Legendary singer/songwriter/guitarist Joan Armatrading will soon bring her last major world tour to the United States.
For the first time in her four-decade plus career, Armatrading's "Me Myself I" world tour features her performing her entire set solo.
The British singer/songwriter/guitarist/instrumentalist, best known for such worldwide hits as "Love And Affection,""Me Myself I,""Drop The Pilot" and many more, performs for nearly two hours per show sharing the highlights of her extensive career, singing, playing guitar and piano.
The set also includes an intimate photo montage, narrated by Armatrading herself, which beautifully captures her career in pictures.
The American leg of the "Me Myself I" world tour kicks off on April 8 at the Stone Mountain Arts Center in Brownfield, ME and runs through mid-May. Please see below for tour dates.
Of the "Me, Myself, I" world tour, Joan Armatrading commented, "'I will never retire but this will be the last major tour that I will undertake. For the first time these concerts will be me solo on stage playing the guitar and piano and singing. I want these concerts to be a special lively interactive one to one experience. I have absolutely enjoyed the last 42 years of performances but now, with my final major tour, I want to capture a unique memory for both myself and the audience."
Armatrading's "Me Myself I" world tour has been winning rave reviews from the media globally with The Argus (Brighton, England) declaring, "The veteran performer didn't just take to the stage...she owned it..." and The Stourbridge News (Stourbridge, England) avowing, "Accompanying herself on either guitar or piano, Joan showed what an accomplished musician she is as well as possessing a truly original voice and wonderful songwriting skills."
After more than four decades of touring, countless Grammy and Brit Award nominations, a BA (Hons) degree in History, seven honorary degrees, and many more personal and professional highlights, it is fair to say Joan Armatrading is a woman of substance. Armatrading's current world tour kicked off in South Africa, 2014. With nearly every show to date a complete sellout, it sees her on the road until the end of 2015 and encompasses the Europe, United Kingdom, Ireland, Australia, New Zealand and more concerts in South Africa.
Armatrading performs “Love and Affection” in 1976:
Joan Armatrading "Me Myself I" North American tour dates:
APRIL
8 Brownfield, ME The Stone Mountain Arts Center
9 Ridgefield, CT The Ridgefield Playhouse
10 Boston, MA Berklee Performance Center
11 Westhampton Beach, NY Westhampton Beach Performing Arts Center
12 Albany, NY Hart Centre/Empire State Plaza Performing Arts Center
15 Alexandria, VA Birchmere Music Hall
16 Alexandria, VA Birchmere Music Hall
17 New York, NY The Concert Hall At The New York Society For Ethical
Culture
18 Collingswood, NJ Scottish Rite Auditorium
19 Durham, NC Carolina Theatre
22 Kent, OH The Kent Stage
23 Chicago, IL City Winery Chicago
24 Chicago, IL City Winery Chicago
25 Nashville, TN City Winery Nashville
27 New Orleans, LA Civic Theatre
29 Atlanta, GA Symphony Hall/Woodruff Arts Center
30 Ponte Vedra, FL Ponte Vedra Concert Hall
MAY
1 Clearwater, FL Capitol Theatre
2 Orlando, FL The Plaza Theatre
3 Fort Lauderdale, FL Parker Playhouse
5 San Francisco, CA The Regency Ballroom
6 Santa Barbara, CA Lobero Theatre
7 Carmel By The Sea, CA Sunset Center
8 Grass Valley, CA Veteran's Memorial Auditorium
9 Los Angeles, CA Orpheum Theatre
Indie rock artist Survival Guide has debuted new single, "January Shock.”
It’s the first track to be released off Survival Guide's upcoming debut album, Way To Go, which is set for a Spring 2015 release.
The band also just played South By Southwest 2015 in Austin, TX.
About the inspiration behind "January Shock," Whitehurst explains, "'January Shock' was inspired by the way people seem to keep thinking the world is going to end at any moment, and how it makes people apathetic about their own futures. Hopefully the uplifting chorus will help get people out of the doldrums!"
Survival Guide is an artistic endeavor featuring California vocalist and keyboardist Emily Whitehurst. Her music falls somewhere between indie rock and electronic, always with descriptive, storytelling lyrics, strong vocals and a sprinkle of pop.
After supporting Joan Jett, performing at First City Festival 2014 (Beck, The National, Phantogram) and recording a freshman full-length album, Survival Guide was named one of the Top 12 Bay Area Bands of 2014 by San Francisco's premier rock radio station, Live 105.
The upcoming album, entitled Way To Go, conjures feelings of a dark modern fairytale and showcases Whitehurst's vocal range and talent, following two previously released 7" vinyl singles, "Hot Lather Machine" and "Wildcat,” released on San Francisco's Side With Us Records.
It seems like only yesterday that The Fabulous Thunderbirds, an upstart rocking-blues band from Austin, Texas, released their debut album, Girls Go Wild.
It was, in fact, more than three decades ago.
Since that time, Jimmie Vaughan, the T-birds’ founder and guitarist from 1976 to 1989, has gone from being a skinny kid with a Strat and a perm to one of today’s elder statesmen of the blues.
Whether or not he knows it or accepts it, he’s approaching the “sacred trad-blues strata,” which includes Buddy Guy, B.B. King and, well, not too many other living players (Although, you really need to check out Ronnie Earl).
His approach to soloing has always involved economy—saying a lot with just the right combination of notes and bends—and that’s still the case with his latest solo release, Plays More Blues, Ballads & Favorites, which came out in 2011.
“Texas Flood” (Jimmie Vaughan with Double Trouble, Tribute to Stevie Ray Vaughan, 1996)
Vaughan organized a tribute to his late brother, Stevie Ray, at Austin City Limits on May 11, 1995. He chose a tough tune to cover, but—backed by his brother’s old bandmates—he totally owned it, stamping it with his own brand of fire and passion, not to mention a biting tone. Check out the unusual note choices and phrasing at 4:08.
“Extra Jimmies” (The Fabulous Thunderbirds, What’s The Word?, 1980)
“Extra Jimmies,” a pared-down jump-blues masterpiece in the key of B, is Vaughan’s signature tune.
This song—with its catchy riffs, tasteful bends and flawless timing—is indicative of the sound and quality of the Thunderbirds’ early albums on Chrysalis Records, namely Girls Go Wild, What’s the Word, Butt Rockin’ and T-Bird Rhythm.
Here's a toned-down, recent-ish live version by Vaughan.
“Full-Time Lover” (The Fabulous Thunderbirds, Girls Go Wild, 1979)
Of course, there’s the classic studio version of this tune, but then there was the epic live version. T-birds singer Kim Wilson would leave the stage to let Jimmie do his thing, as I witnessed when I caught the band’s Wallkill, New York, show in July 1989. This video is from another show (and year), but you get the idea.
“The Crawl” (The Fabulous Thunderbirds, What’s The Word?, 1979)
Me to Jimmie: “I’ve been stealing one of your solos for years; it’s your solo on 'The Crawl' from What’s The Word? I steal that solo from you about once a week. Jimmie to me: “Well, good. I can’t remember, but I think I stole that from Guitar Junior. So don’t feel bad!”
Here’s a live version featuring Jimmie and Stevie Ray, who’s playing a Telecaster. Be sure to check out the extended solo at the end:
“I’ve been stealing one of your solos for years; it’s your solo on 'The Crawl' from [the Fabulous Thunderbirds' 1980 album] What’s The Word? I steal that from you about once a week.
Jimmie to me:
“Well, good. I can’t remember, but I think I stole that from Guitar Junior. So don’t feel bad!”
Below, check out a—let's face it—pro-shot yet crappy-quality video of the Fabulous Thunderbirds performing "The Crawl" in what I call the good ol' days of Texas rock and blues (1984), with Jimmie's little brother, Stevie Ray Vaughan, sitting in.
What's particularly cool is that SRV is playing a Fender Telecaster in this clip—something I don't think I've ever seen before. Be sure to stick around for the extended solo at the end of the video!
In case it isn't clear, that's Jimmie on the white Strat and Stevie Ray on the Tele. Kim Wilson sings. Note that both Jimmie and Stevie Ray play the guitar behind their head at various points. Ah, the good ol' days! Enjoy!
Here's a new video by the Commander-In-Chief, a seven-string (Ibanez) guitarist who lives in England.
It's a new arrangement of the theme from Dragon Age: Inquisition, a role-playing video game developed by BioWare and published by Electronic Arts. The music was written by Trevor Morris.
That's the Commander's brother, William Hagen, sitting in on piano. He's making his first appearance in a Commander-in-Chief video.
These videos and audio files are bonus content related to the April 2015 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
Part of my role as a member of former Allman Brothers Band guitarist Dickey Betts’ band, Great Southern (along with his son, guitarist Duane Betts), is to provide improvised rhythm guitar parts to songs that oftentimes develop into long jams with many instrumental solos.
In this type of musical environment, it’s essential for the rhythm guitars to keep the accompaniment interesting and moving forward while also laying down a solid groove for the soloists to play over.
Many of these songs—like “Blue Sky,” “In Memory of Elizabeth Reed” and “No One Left to Run With”—feature soloing sections built upon repeating chord vamps.
In this endeavor, I have developed a rhythm guitar approach that I can use in any of these jamming-type situations, which is to explore small chord voicings that connect to one another via voice leading techniques, such as close voicing.
Check out this video that was created and posted by the gang at Spin.
In the clip, Yngwie Malmsteen teaches Spin senior editor—and self-declared guitar novice—David Marchese everything you need to know to shred like a guitar god.
Malmsteen pretty much covers all the bases, going from "bending in tune" to providing pointers on style and showmanship. I love how Marchese says "Good job!" at the end of the video.
Anyway, enjoy!
P.S.: I used to own the same DeArmond guitar Marchese is playing, although mine had Duo Sonic pickups. I sold mine for beer money in 2005. I know no one cares about this detail.
Today, GuitarWorld.com presents the exclusive premiere of a previously unreleased alternate recording of "Bad Company," the title track from the 1974 debut album by—you guessed it—Bad Company.
The recording is from the new remastered, deluxe edition of the album, which will be released April 7 by Rhino. Rhino also will release a new deluxe version of the band's hit 1975 album, Straight Shooter, the same day.
Both two-disc releases feature a host of rare and previously unreleased recordings by the influential U.K. rockers, all of which are from the original master tapes. You can see complete track lists for both albums below.
Our exclusive premiere of "Bad Company" is a re-take from the reel that yielded the better-known master. This is actually take 2 (LMS Studio Reel 8 - 73 Session); the next complete version was the one used on the album.
Vocalist Paul Rodgers, along with guitarist Mick Ralphs, bassist Boz Burrell and drummer Simon Kirke recorded Bad Company in November 1973 using Ronnie Lane’s mobile studio at Headley Grange, where Led Zeppelin frequently recorded. Bad Company went to Number 1 in the U.S. the following year.
Its second disc features 12 tracks, including eight previously unreleased recordings such as the demo for “The Way I Choose” and an unedited version of “Superstar Woman,” which Rodgers later recorded in 1983 for his Cut Loose album. Also featured are the single edit of “Can’t Get Enough” and the B-sides “Little Miss Fortune” and “Easy on My Soul.”
For more about Bad Company, visit badcompany.com. For more about Rhino, visit rhino.com. For more about the new deluxe editions of the albums, head here.
Bad Company Deluxe Editions | Track Listings:
Bad Company (1974)
Disc One
01. “Can’t Get Enough”
02. “Rock Steady”
03. “Ready For Love”
04. “Don’t Let Me Down”
05. “Bad Company”
06. “The Way I Choose”
07. “Movin’ On”
08. “Seagull”
Disc Two
01. “Can’t Get Enough” (Take 1)*
02. “Little Miss Fortune” (Demo Reel 1)*
03. “The Way I Choose” (Demo Reel 1)*
04. “Bad Company” (LMS Studio Reel 2-73 Session)*
05. “The Way I Choose” (Version 1 Inc. F/S)
06. “Easy On My Soul” (Long Version)
07. “Bad Company” (LMS Studio Reel 8-73 Session)*
08. Studio Chat/Dialogue
09. “Superstar Woman” (Long Version)*
10. “Can’t Get Enough” (Single Edit)
11. “Little Miss Fortune” (B-side of “Can’t Get Enough”)*
12. “Easy On My Soul” (B-side of “Movin’ On”)*
Straight Shooter (1975)
Disc One
01. “Good Lovin’ Gone Bad”
02. “Feel Like Makin’ Love”
03. “Weep No More”
04. “Shooting Star”
05. “Deal With The Preacher”
06. “Wild Fire Woman”
07. “Anna”
08. “Call On Me”
Disc Two
01. “Good Lovin’ Gone Bad” (Alternate Vocal & Guitar)*
02. “Feel Like Makin’ Love” (Take Before Master)*
03. “Weep No More” (Early Slow Version)*
04. “Shooting Star” (Alternate Take)*
05. “Deal With The Preacher” (Early Version)*
06. “Anna” (Alternate Vocal)*
07. “Call On Me” (Alternate Take)*
08. “Easy On My Soul” (Slow Version)
09. “Whiskey Bottle” (Early Slow Version)
10. “See the Sunlight”
11. “All Night Long”
12. “Wild Fire Woman” (Alternate Vocal & Guitar)*
13. “Feel Like Makin’ Love” (Harmonica Version)
14. “Whiskey Bottle” (B-side of “Good Lovin’ Gone Bad” )
* Tracks featured on Deluxe Edition LPs
