Showing posts with label guitar. Show all posts
Showing posts with label guitar. Show all posts

Saturday, July 10, 2010

Back to the Jungle - An Interview with Slash

It’s hard to believe that 2007 marks the 20th anniversary of Appetite for Destruction, and still harder to believe that Slash was only 19 when he and the band first started writing the album. That it was recorded at all remains somewhat of a rock ’n’ roll miracle.
Formed in 1985, Guns N’ Roses—singer W. Axl Rose, guitarists Slash and Izzy Stradlin, bassist Duff “Rose” McKagan, and drummer Steven Adler, as they were listed in the liner notes—lived up to the title of their full-length debut in ways not seen since Aerosmith’s drug-hog heyday and the Sex Pistols’ tabloid-baiting auto-destruction.

The excesses of the band’s early days—the drug addiction, the homelessness, the arrests—have been widely and sensationally reported. So have the shuddering after-effects: McKagan’s exploding pancreas, the stadium riots, fan deaths, as well as the messy break-up and chronic megalomania that today leave Rose as the only remaining original member of a group bearing the name Guns N’ Roses.
But more crucially, those early days are documented on the 12 songs that make up Appetite. “We lived in an intense party atmosphere and were the Antichrists of the neighborhood, so there was a lot of social tension that was definitely amusing,” says Slash in a chilled-out voice that belies his aggressive yet lyrical guitar style. “Those were some really great times, and it was definitely reflected in the music. It’s one of the reasons that particular album means a lot to me. We did the whole thing our way.”

If the band’s lifestyle (deathstyle?) teetered on the proverbial brink, it was a dedication to the music that provided order in their lives and momentum to the recording. In the ways that mattered, Slash assumed an almost workman- like approach to the job, albeit it one catered by Jack Daniels and overseen by a talented and sympathetic producer, Mike Clink.

“I was rolling into the studio every day at 12 o’clock, and I would be done at 9 or 10 at night. But after that, I had no idea where I was going to go or how I was going to get around or where I was going to sleep. So every morning, Clink would be like, ‘I wonder if Slash is going to make it in today?’ It was just the lifestyle I was living. It was constant chaos. But I would show up at noon every day like clockwork, open up a bottle of Jack Daniels, pour it in some coffee, and that’s how we did all the guitars.”

To celebrate the 20th anniversary of Appetite, Slash sat down with Guitar Edge to share his memories of the album, song by song. When prompted that “Welcome to the Jungle” opens the set, Slash says, “Is that the first song?” He adds a disclaimer: “I haven’t done an interview like this, so bear with me. This is all to my own personal recollection. You can quote me on it, but it doesn’t mean it’s totally accurate.”

But as with his guitar playing on Appetite, it’s not the accuracy that counts, but rather its spirit. And as always, Slash has spirit to burn—and a good degree of accuracy, as it turns out.To enhance the experience as you read along, I’d recommend you cue up the album, turn up the volume, and press Play. You’re in the jungle, baby….

“Welcome to the Jungle” is such a classic opening track and a great introduction to the band. Do you remember how it came together?
“Welcome to the Jungle” started out with the main riff of the song, that descending riff, which I played for Axl at my house one afternoon. I have a vivid memory of that. At some point later on, the band was rehearsing and Duff came up with the breakdown section in the middle and I came up with the intro. That part was written with the delay in mind—I think I had just gotten one of those Boss delay units. It was one of those things where the synergy was such that the song came together in one afternoon. I remember the lyrics being especially poignant because they were written about Axl’s experience in the streets and his whole summation of moving to Hollywood.

“It’s So Easy” is the next song… “It’s So Easy” was a song that basically was written with West Arkeen. West was a really good friend we did a lot of writing with, especially Axl. When that particular song was first written, it had this light, strummy feel because it was written with open chords. It was a lot slower. It was very cool, though—sort of beatnik-sounding. It sounded like it was written on the back of a train. I turned it into more of a power-chord type of deal. There were a couple of riffs I introduced to it, and it sounded a lot more rocking by the end. That was always my forte—anything that was written on acoustic or an electric played at less than 11, I would always turn it up to 12.

This song, and almost every song on the album, has a great beginning, middle, and end—the elements of good storytelling. Was there a conscious effort to structure the songs that way?
That’s another one of the magical things about the band at that time—it always came together in a subconscious way. You might hear something in your head and apply it. We’d just get excited about anything that sounded good—at least from a musical point of view. I think Axl’s approach as a singer and a lyricist was a little more methodical.

And what about “Night Train”?
“Night Train” is a funny story. We wrote the chorus when Izzy, Axl, and I were walking around Hollywood drinking Night Train. At the time, it was just sort of a day in the life. Then Izzy and I were hanging out at this little studio apartment we used to live in and we got the basic arrangement down. Then I got the flu or strep throat or something, and Duff, Axl, Izzy, and Steve managed to get more of the arrangement down without me. I remember being completely pissed off because I couldn’t be there. I hated missing anything.

The end of that song has one of your great blazing solos. It’s funny, too, because if I were to play that same solo now, it would be way more fluid. But part of the beauty about that solo is that I wasn’t technically capable of playing as fast as the song was going, so the solo has a little bit more of a rocky feel to it, which is cool.

And the next song, “Out Ta Get Me,” doesn’t let up the pace at all.
It started with that intro lick, which was Izzy’s, and I remember hearing it and going, “That’s awesome!” The was the song sounds on record is exactly how it sounded in my head from the second I heard that riff. Izzy’s stuff was always easy to expand on. He would always have a classic line that you could make into some humongous riff. We just ripped into that lead line.

You’re known as a soloist, but you also have a talent for weaving all of these little parts into an arrangement.
We weren’t what you’d call a patient lot, so spending a lot of time working on one particular tune wasn’t really our forte. But if something hit you right away, the ideas just started coming out. That was definitely the time when the littlest thing would trigger a whole chain reaction of ideas. You’d almost be tripping over yourself coming up with new ideas as the song progressed. That was fun.

Next is “Mr. Brownstone,” which was pretty controversial at the time.
I guess that was the most direct heroin- suggesting song on the record. Izzy and I wrote that sitting in his apartment, loaded. And as most junkies do, we started writing lyrics about the perils and the boredom of the whole thing, the sort of redundant process we were immersed in.

Were you actually heavy users at that point?
It was sort of on and off. There was a heavy point in the beginning, and then it was like a whenever-you-can-get-it kind of thing. But, yeah, by that point we were pretty strung out. At least Izzy and I were. There was a period of about a year, after we got our record deal and before we went into the studio, when the band didn’t do anything. During that period we were partying pretty hard. We were looking in all different directions for any kind of entertainment. Plus, they gave us a little bit of money, which at the time seemed like a lot. My biggest saving grace was probably that I was so committed to guitar playing. No matter how crazy I got, I always had that focus to keep me together. It a huge priority that took precedence over everything. That’s what kept me from going down the toilet like most people do when they go to that extreme.

The tone of the album changes a bit with“Paradise City.”
We had a manager courting us at that time, and she gave us a ride to San Francisco to play a gig with Jetboy. While heading back in the van, we started writing “Paradise City.” It started off with those basic chords and then the melody, and I remember writing the words. Originally it was “Take me down to Paradise City, where the girls are fat and they got big titties” [laughs], which we changed into “where the grass is green and the girls are pretty.”

When was the synthesizer part added to the song?
That didn’t come in until Axl was putting his vocals down on the record, so I had no idea about that until we got to the mixing stage. All of a sudden here was that part. Being the guitar purists that we were, Izzy and I were like, “Whoa, whoa, whoa!” But Axl won that battle, so it stayed on there. All things considered, it was never that big of a deal, but it introduced a certain electronic thing that didn’t fit well. Axl had a tendency to do that from time to time—to bring it in on the back end.

And “My Michelle” opens with that chiming intro, which gives it a real “doomy” feel.
Basically, it started with the heavy riff. I remember doing the riff first, then making up the intro to it. I’m really into good intros. The Stones, the Beatles, the Who, and Aerosmith often had great intros, and those were some of my favorite songs of all time—something that started off quiet and crescendoed into this big crash. If I ever came up with a good riff, I’d always have to think of a cool intro to support it.

Next is “Think About You,” which always sounded out of place to me. The chorus sounds almost like a New Wave song. That’s a song that Izzy had in its entirety when we first started. I was too lightweight. But at the same time, it was one of those songs where Izzy had written the lyrics, so it was sort of like that Aerosmith song “Combination” [on Rocks], which Joe Perry wrote. It was Izzy’s babbling “Combination” song. I never a big fan of it because it was just enjoyed recording it, though. I managed to get some ideas down and could walk away feeling satisfied with the way the song sounded.

And what about “Sweet Child O’ Mine”? That was such a huge MTV hit.
That song was written after we were signed and there was nothing much to do. Another management team was courting us, and these people went so far as to lease us a house above Griffith Park. We pretty much demolished the place. But I remember Duff, Izzy, and I were sitting in the living room next to the fireplace—we had no TV set—and I was playing the intro riff and they were playing chords behind it. And next thing you know, it was turning into something. I really just thought of it as a joke, but lo and behold, Axl was upstairs in his bedroom and he heard it and started writing the words. The next day, we were rehearsing at Burbank Studios—doing a preproduction kind of thing—and Axl wanted us to play what we had been playing the night before. Pretty soon, it shaped itself into a song, and all of a sudden it took on this serious kind of tone. It was really hard for me to accept, but that song became Axl’s favorite. I think a lot of it had to do with the lyrics. They had a serious, personal side to them.

Was there some contention in the band about playing a ballad?
I don’t think anyone in the band had as much of a problem with it as I did, because I was just such the hard-rock guy. Some ballads I could deal with, as long as they were bluesy. But “Sweet Child O’ Mine” seemed completely sappy. Not so much from a lyrical point of view, but that whole intro riff. I like playing the solo section, but I would’ve written that song off as history if anyone else had complained about it. I had no idea it would become the biggest song the band ever did.

And “You’re Crazy”?
“You’re Crazy” was written around the same time as “Mr. Brownstone.” It was originally a slow acoustic song that we wrote while sitting in the living room one night. Then Axl, Izzy, Duff, and I went down to a rehearsal studio that we were working out of and, of course, turned everything up to 12. All of a sudden, it took on this real breakneck speed. Axl actually enjoyed making the adjustment.

“Anything Goes” is quite different.
It has a talk box part on it. “Anything Goes” is one of the older songs on record. If you look at the credits, there are a lot of writers listed for this one because that song was around before Axl and I first hooked up. By the time Guns N’ Roses got to it, we’d changed the chorus and the verses around, and Axl rewrote the lyrics. When I recorded the solo on it, I bounced back and forth between the talk box and the electric guitar. If you listen to it, the talk box dips in EQ when it switches over. I didn’t know any better because I didn’t have one to use live. I remember when we were mixing it, Izzy asked, “Did you mean to do that?” I was like, “Just shut up.”

And, finally, “Rocket Queen.” You play some nice slide on this one.
That was a riff I had when Duff and I first hooked up. We had a band together with Steven way before Guns started. We had that riff, and at some point I brought it back into the band. The chorus was something Axl had been working on that had nothing to do with the rest of the song, but we somehow managed to incorporate it. It was a pretty interesting operation because the chorus was in a completely different key. I remember when we played it live I would have my roadie bring me the slide, but by the time that song came up in the set, he’d be drunk. And by the time he got it on my finger, the solo section would be over [laughs]. It was very Spinal Tap.

When Appetite was finished, did you have any idea the album would become such a classic?
We had no idea it was going to be such an iconic record. Who would’ve thought? We had no idea that was going to happen, even a year after it was released when we were still just an opening band. We didn’t really see the developing onslaught of fans and how important a statement that record was. When I was a kid, there were certain bands and certain records that were the most important background music of my life. And the fact that this record turned into that for so many people, I could never ask for anything more. Regardless if the band couldn’t keep it together, that one thing alone was totally worth it.

And this wouldn’t be an interview about Appetite without the obligatory question: Can you see the original line-up ever getting back together?
There’s no real easy, positive answer for all of it. There’s been a lot of negative stuff bandied around over the last ten years, but I’m way past saying anything negative. As far as the band ever getting back together, it’s so far-fetched. I think Izzy’s gone and jammed with them a couple of times, but I don’t think anyone has any interest. I’ve obviously moved on and have a lot to do with Velvet Revolver, so that’s where my head is. Obviously it’s not an idea that I’m entertaining in any way, shape, or form at this point. I think the more time that passes, the less likely it will happen—and it was pretty unlikely five years ago.

What can you tell us about the new Velvet Revolver disc?
When we did the first one, it was great because we all came together and just blew that one out and had a great time doing it. Now, everyone’s individual talents are coming to the forefront and it’s becoming one of those records where, from the songwriting point of view, everyone’s really shining. We didn’t take a lot of time on the first one— that was a very spontaneous record. So this one has been a little more like everyone’s best effort.

Courtesy: GuitarEDGE

Jimi Hendrix and George Fullerton to be Inducted into Fender Hall of Fame

Fender Musical Instruments Corp. is proud to announce that it will honor rock legend Jimi Hendrix and founding employee George Fullerton at its fourth annual Fender Hall of Fame Induction Ceremony, 4 p.m. to 5 p.m. on Fri., Aug. 13, 2010, at the Tempe Center of the Arts in Tempe, Ariz.

The Fender Hall of Fame was created in 2007 as an annual celebration of Fender founders, artists, leaders, innovators and other historically significant figures, and as an institution in which their contributions to the company’s legacy are permanently commemorated.

Special guests at the 2010 induction ceremony will include Janie Hendrix, Eddie Kramer, Geoff Fullerton, Kenny Wayne Shepherd and Chris Layton.

Janie Hendrix, CEO of Experience Hendrix LLC, is the central figure in preserving and protecting the ongoing legacy of her legendary stepbrother, Jimi Hendrix. As the head of the Hendrix estate for nearly a decade, she will be present at the induction ceremony that afternoon to accept the honor on behalf of Jimi Hendrix and the Hendrix family.

Over a career spanning nearly half a century, world-famous recording producer and engineer Eddie Kramer is well known as the man who recorded Jimi Hendrix; playing an integral role in recording every seminal Hendrix album from the 1967 debut Are You Experienced to 1971’s The Cry of Love. Kramer is unquestionably one of the most renowned and well-respected producer/engineers in rock history; his work has also included famous albums for the Beatles, the Rolling Stones, Led Zeppelin, David Bowie, Peter Frampton and many other artists.

Fender’s own Geoff Fullerton is the son of George Fullerton, one of Leo Fender’s best friends, first employees and key right-hand men during Fender’s original 1940s-1960s golden age. A generation later, Geoff Fullerton has lent his own talents as a builder to the Fender Custom Shop in Corona, Calif.; he remains there today and will be on hand at the induction ceremony to accept the honor on behalf of his father and family.

The fourth annual Fender Hall of Fame Induction Ceremony will also feature a musical performance by noted blues guitarist/singer/songwriter Kenny Wayne Shepherd, ably backed by premier electric blues drummer Chris Layton, formerly of Double Trouble and also known for his work with a variety of artists including Storyville, Arc Angels, Doyle Bramhall II and many others.

About the Inductees

James Marshall “Jimi” Hendrix (1942-1970) is universally hailed as the greatest electric guitarist in the history of rock and one of the most influential musicians of the 20th century. In the annals of rock history—and especially in Fender history—he towers above all others as an artist whose life and work were as phenomenal as the era which he helped to define and personify.

Innovative, enigmatic and astoundingly talented, Hendrix pioneered an explosive new role for the electric guitar in the latter 1960s over the course of a meteoric career that was as musically adventurous as it was all too brief. Indeed, one can only speculate on the even greater musical heights he would have achieved had he lived beyond the age of 27.

With bands the Jimi Hendrix Experience and Band of Gypsys, he recorded groundbreaking hit singles and albums, including Are You Experienced and Axis: Bold as Love (1967), Electric Ladyland (1968) and Band of Gypsys (1970), all of which are as acclaimed and influential today as when first released. A mesmerizing performer, Hendrix also turned in unforgettable concert moments, including his literally fiery performance at the 1967 Monterey Pop Festival and his immortal appearance at the 1969 Woodstock Music & Art Fair.

With his Stratocaster guitar slung upside down and his artful and inventive use of distortion, feedback, and other effects, Jimi Hendrix bequeathed to the world an artistic legacy so powerful that he has transcended mere stardom to become a worldwide cultural phenomenon that endures to this day.

George William Fullerton (1923-2009) played a pivotal role during Fender’s original 1940s-1960s golden age.

In the mid-1940s, as a gifted artist and working musician with a keen interest in electronics, George became friends with Leo Fender. The two men eventually became business associates after Leo personally enlisted George to sign on with the fledgling guitar and amplifier company. With his artistic sense and natural ability to translate ideas into practical processes and machinery on the shop floor, Fullerton contributed to the creation of several of the most important musical instruments of the 20th century, including the Telecaster®, Stratocaster, Precision Bass® and Jazz Bass® guitars.

George Fullerton reported to work at Fender on Feb. 2, 1948, after performing several years of side work for Leo. He ran the small shop and supervised the crew during those first formative years, bringing a congenial, family-like atmosphere to the feisty young company. He became vice president in charge of production in April 1959, and from that early era through the 1960s, he remained both well liked by everyone at Fender and steadfastly loyal to Leo, with whom he remained a lifelong friend and business partner long after both men retired from Fender in 1970.

For more information visit: Fender

News courtesy: PREMIERGuitar

Gibson Launches Collector's Choice Custom Shop Series

Gibson Custom Shop has debuted a new series of guitars directly modeled after famous originals now in the hands of collectors. The Collector's Choice series launched with Collector's Choice #1, a 1959 Les Paul in British-born collector Melvyn Franks' collection. The original Les Paul that this Custom Shop replica is based on was what is considered by some to be the Holy Grail of Holy Grail Les Pauls. The original was owned by Gary Moore and used on recordings with Thin Lizzy, including “Still in Love with You” and “Waiting for an Alibi,” and afterward, as a solo artist. This Les Paul is also the "Peter Green Les Paul" that was rumored to be once owned by Peter Green and used on early Fleetwood Mac recordings, then later given or sold to Gary Moore by Peter.

Collector's Choice #1: Melvyn Franks Butterscotch VOS version

The original features a highly figured top and a beautiful, faded “unburst” finish, and the wiring and orientation of the neck pickup has been reversed to create a unique “out of phase” middle position tone. The Collector's Choice #1 guitars will be available in two options: Gary Moore Butterscotch Aged and Melvyn Franks Butterscotch VOS. Both versions feature period-correct details: rounded ’59 neck profile, Deep-Amber “Unburst” finish, “reverse-phase” BurstBucker humbuckers, bumble bee tone capacitors, nickel-plated Sperzel tuners, deep-set long neck tenon, correct body top binding in the cutaway, missing silver inserts on the top two “Top Hat” control knobs, and 17-degree back-angled headstock. The Aged version will be limited to 150, carry a Certificate of Authenticity signed by Gary Moore, and retail at $12,468. The VOS version will be limited to 300 and retail at $9,174.

Collector's Choice #1: Gary Moore Butterscotch Aged version

For more information visit: Gibson

Source: Gibson

Saturday, July 3, 2010

PureSolo Announces Mark Knopfler Guitar Competition


Guitarists are invited to audition online for the chance to win a one-to-one mentoring session with Mark Knopfler.
PureSolo.com the online music recording community has teamed up with guitarist Mark Knopfler to launch an online guitar competition, in which guitarists are given the chance to win a master class with Knopfler at his private studios in London.
The competition’s unique method of entry offers guitarists the opportunity to take the place of Knopfler on three original recordings. These tracks have been specially remastered with the lead guitar part removed and entrants are invited to re-record this part in their own style.
Guitarists without access to recording equipment need not worry as all the tools needed to create their competition entry are provided at PureSolo.com. The site boasts an online recording facility that makes it easy for anyone to record music using just a microphone and computer.
Once submitted for entry, songs can be played and rated by other members of the PureSolo community, eventually creating a shortlist from which the winning recording will be chosen by an expert panel of judges including Mark Knopfler.
Joining Mark on the judging panel are Chris Vinnicombe, Guitar Editor at MusicRadar.com; and HP Newquist, author and founder of The National Guitar Museum. The competition launched on the June 14 and will run until August 31. The original backing tracks required for entry are exclusively available at PureSolo.com and are priced at £1.99 (approximately $3). Once purchased, PureSolo tracks can be re-recorded an unlimited number of times.
The competition prize includes a return economy flight from anywhere in the world and two nights in a five-star hotel in London. There will also be a prize for the competition’s runner up, a Fender guitar, courtesy of The National Guitar Museum

For further information visit: PureSolo

News Courtesy: PREMIERGuitar

Thursday, July 1, 2010

Steve Vai Opens the Vault


Guitarist Steve Vai is opening his vault of unreleased material and starting a digital download series entitled VaiTunes. VaiTunes are tracks that are culled from his personal archives, brushed off and released as digital singles.

Each single will be accompanied by a digital booklet explaining the origin of the song, the story behind the session and what gear was used. So far in the series, Vai has released three tunes. The first one, "Without Me," was released this past February with two other tunes released since then.

For more information, visit Steve Vai's official website.

News courtesy: GuitaREDGE

Guvera, a Free and Legal Music Download Service Now Available in the US

Guvera is a music destination site that delivers free music from global music labels and artists – provided on individually branded channels. Designed exclusively to solve the crisis facing marketers today: TV, online and radio advertising are all losing value as customers take more control. With Guvera, advertisers align their brand with consumers’ passions and become the hero, providing them with free content rather than a disruptive presence. It also provides a way for content owners to generate revenue from their music, making it readily available and 100% free and legal to consumers.
Advertisers and media buying companies create branded channels, housing relevant styles of music and other digital content and showcasing the particular aspects of a brand’s personality. Once the channel is completed, brands can create a campaign establishing the target audience they look to reach and the total campaign spend. Guvera’s algorithms dynamically determine which brands should be paying for which content based on live consumer preferences.

Click here to register with Guvera and get free music!

News Courtesy: GuitaREDGE

Songwriters Hall of Fame Inducts Bob Marley, Earth, Wind and Fire and More in 2010 Awards Ceremony



At the 2010 Songwriters Hall of Fame 41st Anniversary Awards show, SHoF Chairman/CEO Hal David and President Linda Moran recognized and celebrated some of the key songwriting legends of our time. Icons such as Leonard Cohen, Jackie DeShannon, David Foster, Johnny Mandel and Earth, Wind & Fire’s Maurice White, Philip Bailey, Verdine White, Larry Dunn, and Al McKay were inducted into the hall of fame. Honored with special awards were Phil Collins who was presented the Johnny Mercer Award; Taylor Swift, who received the Hal David Starlight Award; the legendary Phil Ramone received the Howie Richmond Hitmaker Award; Paul Simon who was presented the Towering Song Award for “Bridge Over Troubled Water;” and Keith Mardak received the Abe Olman Publisher Award. Also honored were posthumous inductees Tom Adair and Matt Dennis, Bob Marley, Laura Nyro, Sunny Skylar, and Jesse Stone.

The Johnny Mercer Award, which is the highest honor from the Songwriters Hall of Fame as only previous inductees can be eligible, was presented to Phil Collins. Best known for his work as drummer and vocalist for the British rock group Genesis and as a solo artist, Phil Collins has created some of popular music’s greatest hits, including "In the Air Tonight," "Against All Odds," and "Another Day In Paradise," and such energetic hits as "Sussudio," "You Can’t Hurry Love," and "Two Hearts." Phil Collins was presented his award by Bruce Hornsby, who performed in his honor.

This year’s Hal David Starlight Award, given to gifted songwriters who are making significant impact in the music industry via their original songs, was presented to Taylor Swift by John Mayer, who previously won this award. Swift accepted the award by thanking those who have supported her since the young age of 14 and explaining that her songwriting capabilities come from her inability to speak her true feelings face-to-face. Swift joked that often people in her life don’t find out she loved them until months after when hearing one of her songs.

The legendary Phil Ramone was this year’s recipient of the Howie Richmond Hitmaker Award, which was presented by the renowned Billy Joel in a hilarious presentation speech at the piano. Joel eloquently narrated stories about Ramone’s ability to hear the missing element in a song and to make them runaway hits. Ramone is one of music’s well-respected producers with 34 GRAMMY nominations, 14 GRAMMY Awards, an Emmy and numerous awards and honors to his credit. Working with a variety of musicians from country to pop stars, Ramone created some of today’s best hit songs, such as: Billy Joel’s "Tell Her About It," "Uptown Girl" and "Modern Woman," "Late In The Evening" (Paul Simon), "Too Late for Goodbyes" (Julian Lennon) and many more. He has worked with many notable artists including Bono, Ray Charles, Natalie Cole, Bob Dylan, Aretha Franklin, Etta James, Quincy Jones, BB King, Frank Sinatra, Stevie Wonder, Madonna, Sting, Bruce Springsteen and James Taylor to name a few.

This year’s Towering Song Award for "Bridge Over Troubled Water" was presented to Paul Simon who wrote the song in 1969 and recorded it in 1970. "Bridge Over Troubled Water," with a powerful performance by Broadway great Brian Stokes Mitchell last night, was honored as one of the most enduring songs from the past four decades. It won the GRAMMY Award for Record of the Year and Song of the Year in 1971. It also reached number one on the Billboard Hot 100 chart on February 28, 1970 and stayed at the top of the charts for six weeks. Following these prestigious awards, "Bridge Over Troubled Water" was re-recorded and performed by many iconic musicians such as Elvis Presley, Aretha Franklin, Johnny Cash and many more.

Keith Mardak, Chairman/CEO of the Hal Leonard Corporation, was the recipient of the Abe Olman Publisher’s Award. The Hal Leonard Corporation has experienced a dramatic annual expansion since its beginning, especially with the 1985 purchase Mardak headed by an internal management group. The Hal Leonard Corporation currently is the world’s largest music print publisher with a catalog consisting of over 200,000 publications, covering a broad spectrum of printed music.

At this year’s Songwriters Hall of Fame Awards Gala, Paul Shaffer and Elizabeth Withers remembered songwriters who have passed before us by performing a medley of songs. These legendary songwriters include Tom Adair and Matt Dennis, Bob Marley, Laura Nyro, Sunny Skylar, and Jesse Stone.

2010 Special Awards:
  • Johnny Mercer Award - Phil Collins
  • Abe Olman Publisher Award - Keith Mardak
  • Howie Richmond Hitmaker Award - Phil Ramone
  • Towering Song - "Bridge Over Troubled Water"
  • Hal David Starlight Award - Taylor Swift

2010 SHoF Inductees:
  • Leonard Cohen
  • Jesse Stone
  • Sunny Skylar
  • Laura Nyro
  • Bob Marley
  • Matt Dennis
  • Tom Adair
  • Jackie DeShannon
  • David Foster
  • Johnny Mandel
  • Earth, Wind & Fire
News Courtesy: GuitaREDGE

Wednesday, August 19, 2009

Karz Theme Music Full - Tabs

This piece of composition is one of my all time favourites. So I thought of posting the tabs here in my blog which will help others as well.

The music is in Em.
The bpm is 94.2

MAIN LINE 1
E----------------------------------
B-7-5-7-8---7-5-7-8---7-5-7-8-5-
G----------------------------------
D----------------------------------
A----------------------------------
E----------------------------------

MAIN LINE 2
E------------------------------
B-4/5-5---7-4---4-5-7-6/7-5-
G-------6---------------------
D-----------------------------
A-----------------------------
E-----------------------------

PICKUP AFTER MAIN LINE 2
E--777-555----------
B------------8-7-5--
G--------------------
D--------------------
A--------------------
E--------------------

REPEAT MAIN LINE 1
REPEAT MAIN LINE 2
REPEAT PICKUP AFTER MAIN LINE 2
REPEAT MAIN LINE 1
REPEAT MAIN LINE 2

INTERLUDE
E---------------7-10-10s12s10--7-7--
B--888-8-8-10------------------------
G--------------------------------------
D--------------------------------------
A--------------------------------------
E--------------------------------------

E-12-12-14-10-10-12-7-7-10-----7-7-7-7-|-7------
B--------------------------------10---------|-----10-9-8-
G-------------------------------------------------------
D-------------------------------------------------------
A-------------------------------------------------------
E-------------------------------------------------------

E---------------7-10-10s12s10--7-7--
B--888-8-8-10-----------------------
G-------------------------------------
D-------------------------------------
A-------------------------------------
E-------------------------------------

E-12-12-14-10-10-12-7-7-10-----7-7-7-7--
B------------------------------10-----------
G-------------------------------------------
D-------------------------------------------
A-------------------------------------------
E-------------------------------------------

THE FAST PART
E-15-14-15-14-12-14-12-14-15-14-12-15-14-12-14-12---
B----------------------------------------------------------
G---------------------------------------------------------
D---------------------------------------------------------
A---------------------------------------------------------
E---------------------------------------------------------

E-14-12-14-12-10-12-10-12-14-12-10-14-12-10-12-10---
B----------------------------------------------------------
G----------------------------------------------------------
D----------------------------------------------------------
A----------------------------------------------------------
E----------------------------------------------------------

E-12-10-12-10-8-10-8-10-12-10-8-12-10-8-10-8-
B---------------------------------------------------
G---------------------------------------------------
D---------------------------------------------------
A---------------------------------------------------
E---------------------------------------------------

LAST LINE OF FAST PART which directly takes it back to MAIN LINE 1
E--7-77-7-7-7s8s7----7-8-7----
B-------------------10-------10-8-
G-------------------------------
D-------------------------------
A-------------------------------
E-------------------------------

REPEAT MAIN LINE 1
REPEAT MAIN LINE 2
REPEAT PICKUP AFTER MAIN LINE 2
REPEAT MAIN LINE 1
REPEAT MAIN LINE 2

Hope this will help you. If you face any problem reading these tabs, please leave a comment here with your e-mail id and I will get back to you as soon as possible.

Saturday, August 15, 2009

Les Paul passes away


Les Paul, acclaimed guitar player, entertainer and inventor, passed away on 13th August from complications of severe pneumonia at White Plains Hospital in White Plains, New York.

Guitar player, entertainer and inventor… Those three things only hint at the breadth of Les Paul’s genius. As guitarists we are all conscious of the instrument that bears his name, and that his (and Leo Fender’s) development of the solidbody guitar has shaped the way that music has been made since the mid twentieth century. Many are aware of his other inventions, including tape echo and overdubbing, not to mention an early form of live looping. Fewer know that after a serious car accident that shattered his right arm and elbow, Paul had his arm set permanently in a position that would allow him to continue to play the guitar. Fewer still know that in the forties he ran one of the first pirate radio stations, out of an apartment basement in Brooklyn, broadcasting live shows by Glen Miller, the Dorseys, and Benny Goodman. And the list goes on…

Born Lester Polsfuss in Waukesha, Wisconsin, he was encouraged by his mother to entertain and by his auto mechanic father to tinker. A music teacher told his mother not to waste her money on lessons because he wasn't "musically inclined," but by age 13, as Red Hot Red, the Wizard of Waukesha, Lester was a local star. Soon after, he was performing hillbilly music as Rhubarb Red and Django Reinhardt-influenced jazz as Les Paul. His trio and Jazz at the Philharmonic series records are required listening for anyone wishing to hear how he influenced rock guitar, from rockabilly to Jeff Beck; his rapid-fire tremolo picking, pull-offs, and open string work have become an integral part of the electric guitar lexicon.

Ever the tinkerer, Paul created his first electric guitar by jabbing a phonograph needle into his acoustic and wiring it to his mother's radio. He built his own microphone, using the mouthpiece part of a telephone and his father's radio. His first recording machine was constructed from the flywheel from a Cadillac and a belt from a dentist's drill.

Backing Bing Crosby in the forties, Paul had his first million-seller, “It’s Been a Long, Long Time.” He acquired an Ampex tape recorder from Crosby in 1949, adding a fourth head to the machine to enable sound-on-sound recording. Using this overdubbing technique, as well as some of his other innovations—tape delay and close micing vocals—he recorded the masterpiece “How High the Moon.” Performed as a duo with future wife Mary Ford, it was the first of what was to be a string of hits for Capitol Records and it changed the face of studio production.

Dissatisfied with the thin tone, lack of sustain, and feedback problems inherent in commercial big box electric guitars, Paul sought a new concept. “I was interested in proving that a vibration-free top was the way to go,” he has said. “I even built a guitar out of a railroad rail to prove it. What I wanted was to amplify pure string vibration, without the resonance of the wood getting involved in the sound.” In 1941, Paul used Epiphone’s plant machinery to realize this vision, dubbing the resulting guitar “The Log.” In the early 1950s, Gibson Guitar helped him refine this idea into the guitar of his dreams. Beginning with the 1952 release of the Les Paul Goldtop, Gibson and Paul began a line of instruments that would become objects of desire for generations of guitarists.

Later, he produced 11 number one singles and 36 gold discs with his wife Mary Ford.

He was inducted into the Grammy Hall of Fame in 1978 and the Rock 'n' Roll Hall of Fame in 1988.

"Les Paul was a shining example of how full one's life can be. He was so vibrant and full of positive energy. I'm honoured and humbled to have known and played with him over the years," the BBC News quoted Slash, Guns N Roses guitarist as saying.

G3 member Joe Satriani called him "the original guitar hero," and added that "Les Paul set a standard for musicianship and innovation that remains unsurpassed."

Gibson president Dave Berryman: "As the 'father of the electric guitar', he was not only one of the world's greatest innovators but a legend who created, inspired and contributed to the success of musicians around the world."

Paul's career is not just marked by the electric guitar; he was also a highly appreciated musician.

News Courtesy: Premier Guitar & DNA

Friday, August 14, 2009

Opodartho (Fossils) - Guitar chords

"Opodartho" is a beautiful song by the great bengali rock band Fossils. The key scale of the song is A major and the bpm is 81.2.
A...
Opodartho jonmo amar,
E...
Opodartho kormo amar
A...
Amar opodartho ta ke
E...
Mahatto bhebo na
D......................A
Bhabo onno karo kotha,
D.......................A
amar byartho biponnota
Dm.....................A
Dyakha ar-chokhe ojotha,
A...
Chere dao.
A...
Orjito sompotti ke,
E...
Chorchito chouhoddi ke
A...
Bortomaner utkochke
E...
Upohar bhebo na
D..........................A
Thako jyanto peeta mataye
D..........................A
Kono byanger soccholotaye
D................A
Aropito e somjhota
D....
Chere dao...

F...
Tomaye niye bekar bhabi,
Cadd9...
Tumi porer ghorer chabi,
G...
Bullet proof boddho jamaye,
A...
Nirapottar nirobotaye,
F...
Aanupatik premer rashtaye,
Cadd9...
Nirbhorotar mrityu sojjaye,
G...
Pounopunnik gorbe lojjaye,
A...
Na bojhar byakulota.
D.....................A
Tader onno kono asha,
D......................A
sikhe onno bhalobasa,
D...........................A
Jani ami tuchcho o tamasha
A...
Orjito sompotti ke,
E...
Chorchito chouhoddi ke
A...
Bortomaner utkochke
E...
Upohar bhebo na
D..........................A
Thako jyanto peeta mataye
D..........................A
Kono byanger soccholotaye
D..................A
Aropito e somjhota
D...
Chere dao...

A...
Orjito sompotti ke,
E...
Chorchito chouhoddi ke
A...
Bortomaner utkochke
E...
Puroshkar bhebo na
D..........................A
Thako jyanto peeta mataye
D..........................A
Kono byanger soccholotaye
D..................A
Aropito e somjhota
D...
Chere dao...

I hope this will be helpful for all you guys out there looking for the chords of "Opodartho". If you need the chords for any other Fossils' song, please leave a comment here.

Saturday, June 6, 2009

Start a Band with GUITAR HERO WORLD TOUR


To start a band isn't so hard if you have Guitar Hero World Tour, the latest game in the Guitar Hero series. The game was released on October, 2008, and will be available for the Nintedo Wii, Playstation 2, Playstation 3 and the Xbox 360. Some new features are new instruments, playing with others, and song composition.

Features:

The new instruments are drum kits like the ones in EA Games' musical game Rock Band, microphones and a new model of the guitar. The drum kits have coloured pads that match the colours of the notes on the game screen with three drums, two cymbals and bass drum pedal. The new guitar has a touch sensitive area with the same colours of the buttons.

It is also bigger in size to match the size of real guitars and has a longer strum bar. To play the microphone, words that have to be sung come up on the screen, and the pitch is also shown. In this version, you can play music with others, and not compete with them. For example, if someone is playing the guitar, the other person can play the drums. You can also form a band with your friends, and play music with them. There is also a band career mode, which is similar to the old solo career mode.

Invite Friends:

On the online gaming mode, you no longer need to play by yourself. You can play with your friends as a band in the online battle of the bands competition. Unlike older versions, Guitar Hero World Tour has a feature in which you can compose and play your own songs.

These songs will be shared on the online Guitar Hero Tunes, and can be played and rated by others. The limit for the number of songs that can be composed is six. The song can be edited in the game and also on a computer for the Playstation 3 version through a MIDI cable.

Guitar Hero World Tour is very different from the other games in the Guitar Hero series. Its not just another set of tracks, but a whole new generation in musical gaming. Go get it now!

Thursday, May 28, 2009

Some facts on 12 String Guitars


The twelve-string guitar is an acoustic or electric guitar with 12 strings in 6 courses, which produces a richer, more ringing tone than a standard six-string guitar. Essentially, it is a type of guitar with a natural chorus effect due to the subtle differences in the frequencies produced by each of the two strings on each course.
Use of twelve-string electric guitar almost appears to be cyclical: beginning with Blind Willie McTell in the '20s and '30s, Lead Belly in the '40s, and continuing with Bob Gibson in the '50s and early '60s, performers and Gibson acolytes such as Mike Pender of The Searchers and Roger McGuinn of The Byrds, brought it to the fore for a decade, until it fell out of favor and was largely limited to niche use by progressive rockers in the 1970s. The instrument was revived in the 1980s by alternative rockers such as Robert Smith of The Cure, Dave Gregory of XTC, Peter Buck of R.E.M., Marty Willson-Piper of The Church, and Johnny Marr of The Smiths. During the 1990s, its popularity waned again, although it plays a key part in the sound of indie rock acts such as Low and The Decemberists. The most popular electric twelve-string model since the 1960s has been the Rickenbacker 360/12, first popularized by George Harrison. Many double-neck guitars have a twelve-string neck, in order for guitarists to switch between tones during live performances, for example, when playing Stairway to Heaven, Hotel California or Xanadu.
Performers who use acoustic 12-string guitars span a range of genres, from folk (Arlo Guthrie, Gordon Lightfoot) and traditional blues (Lead Belly) to folk rock (Paul Simon, Neil Young), country (Pinmonkey's Michael Reynolds) and rock bands (George Harrison of The Beatles and Pete Townshend of The Who). Some musicians, notably Leo Kottke and John Butler use it as their main instrument. Taylor Swift also plays a 12 string guitar for the majority of her performances. English musician James Blackshaw is also noted for his use of 12-string guitars in creating instrumental songs.
Electric Rickenbacker 12-string users include a range of jangle pop guitarists, ranging from Roger McGuinn (The Byrds) to Peter Buck (R.E.M.). The Gibson EDS-1275 electric 12-string was used by blues rock/early heavy metal guitarist Jimmy Page (Led Zeppelin), Guns and Roses guitarist Slash, Alex Lifeson of Rush, Tom Morello of Rage Against the Machine, System Of A Down & Scars On Broadway guitarist Daron Malakian.

Wednesday, May 20, 2009

Canon rock - funtwo

Here goes one of the finest guitar solos of all time. The guitarist is Lim JeongHyun (funtwo). He is said to be the Jimmy Hendrix of our time, and I agree with this statement to the fullest. Such talent, such mastery.... God... !!! Watch the video and you will understand what I mean....

Saturday, March 14, 2009

PICHLE SAAT DINO MEIN (CHORDS FOR ACOUSTIC GUITAR)

The chords used in the original song are all power chords and are played with distortion. The chords which I have mentioned here are meant to play on the acoustic guitar. Hope you will enjoy it. Comments are always welcome.

G......Em..........G......Em.......
Na na, na na na... Na na, na na na…

G............Em............G............Em...
Meri laundry ka ek bill, ek aadhi padhi novel

G......Em...........G......Em......
Na na, na na na... Na na, na na na…

G............Em..........G............Em.....
Ek ladki ka phone no., mere kaam ka ek paper

G......Em..........G......Em.......
Na na, na na na... Na na, na na na...

Bm.....C........Am.....G..
Mere taash se heart ka king

Bm....C....Am.....G...
Mera ek chandi ka ring

Bm...........C.........Am.....G...
Pichhle saat dino mein maine khoya

[Blank] kabhi khud pe hasa main, aur kabhi khud pe roya.

G......Em..........G......Em.......
Na na, na na na... Na na, na na na...

G............Em..........G........Em......
Present Mili Ek Ghadi, pyari thi muje badi

G......Em..........G......Em.......
Na na, na na na... Na na, na na na...

G............Em.........G............Em...
Mary Jane ka ek packet, meri denim ki jacket

G......Em..........G......Em.......
Na na, na na na... Na na, na na na...

Bm.....C.....Am.....G....
Do one day match ke passes

Bm.....C.....Am.....G...
Mere naye naye sunglasses

Bm......C...........Am.......G...
pichhle saat dino mein maine khoya

[Blank] kabhi khud pe hasa main, aur kabhi khud pe roya.

SOLO

Em...........G.............
Kaise bhulu, saatvan jo din aaya
C......................Bm...........
Kisi ne, tumse, ik party mein milvaya
Em..............G....................C...............Bm...
Kaisa pal tha, jis pal maine tumko, pehli bar dekha tha

Bm......C....Am....G.
Hum jo mile pehli bar

Bm......C.....Am....G...
Maine jaana kya hai pyaar

Bm.............C.....Am......G...
Maine hosh bhi khoya, dil bhi khoya,

[Blank] kabhi khud pe hasa main, aur kabhi khud pe roya.

G......Em..........G......Em.......
Na na, na na na... Na na, na na na...

G......Em..........G......Em.......
Na na, na na na... Na na, na na na...

maine pichle saat dino mein ye sab hai khoya!!


ENJOY…!!!