If you’re a fan of Rush like I am, you probably know them for their hard-hitting, prog masterpieces like “Tom Sawyer,” “The Spirit of Radio,” and “Limelight.” Decidedly electric and undeniable energetic, Rush’s intricate arrangements and complex rhythms characterize their catalog. But the band also spins out some masterfully created and performed acoustic parts and songs.
PRS Guitars is pleased to continue its relationship with Rush guitarist Alex Lifeson with the announcement of its all-new SE thinline acoustic signature model. The SE Alex Lifeson Thinline acoustic is a road-worthy guitar for players in need of a stage- and studio-ready instrument.
Alright folks, it's time to get into the St. Patrick’s Day spirit! We've dug up a killer live-in-studio acoustic performance from everyone’s favorite Celtic-punk band, Dropkick Murphys. Here they perform one of their fan-favorites, “I’m Shipping Up To Boston.” There's something about this fist-pumping tune that makes you want to raise your pint high in the air! Or it could be the accordion.
Here’s a down and dirty blues by Derek Trucks and Susan Tedeschi performed live at the White House on two acoustic guitars. It’s the song “Rollin and Tumblin,” a blues tune first recorded by singer/guitarist Hambone Willie Newbern in 1929.
Here’s Kaki King teaching us how to play the fingering pattern from the song “Trying to Speak Parts 1 & 2.” It’s a cut from her brand new album The Neck is a Bridge to the Body, the soundtrack to her multimedia show by the same name. Somehow when the incomparable Kaki King shares the trick to this riff she makes it look easy. But then watch her crank it full speed and holy moly!
In keeping with the same “less is more” philosophy, today’s example is about creating a pattern that is powerful, yet simplistic. I’m playing simple straight eighth notes, and accenting beats 2 and 4. Even though this isn’t the most complex of ideas, I’m still able to create a pretty impactful idea.
Maple is the tonewood of choice for the back and sides of most acoustic archtop and jazz guitars, but relatively few flattop guitar models have maple bodies.
Maple has enjoyed popularity as a tonewood for jumbo flattops, but most players generally prefer these instruments for strumming loud rhythms and little else (which is why maple jumbos have been the flattop of choice for players from Elvis Presley to Pete Townshend). Taylor’s 618e Grand Orchestra model can be a big, bold and loud sound cannon that is certainly ideal for these applications, but it’s much more well-rounded, sweeter and warmer sounding as well thanks to construction refinements developed by master builder Andy Powers. As a result, it’s one of the most versatile jumbo flattop acoustics available on the market today.
Classical guitar has a PR problem. It seems to lack the "cool" factor steel-string guitars enjoy, and it doesn’t seem to be perceived as sexy as the electric guitar by a lot of people. You rarely see classical guitarists skyrocketing to mainstream fame, and you hardly hear of one being referred to as a guitar hero. But why? The truth is, classical guitar is sexy as hell—maybe even sexier than steel-string and electric guitars.