Some of the most innovative guitar playing in the world has involved pedals. Octave pedals, delays, wahs and phasers. Most of those groundbreaking sounds showed up in the late '60s, '70s and early '80s. Players like Hendrix, Muddy Waters, Page, Clapton, Santana and George Harrison used pedals to flavor songs and styles, creating new sounds never heard before.
This past weekend, we were out on a four-show fly date that took us from Lake Charles to San Diego to Las Vegas and finally to Trinity, California, for the Trinity Tribal Stomp. I caught up with my old Okeh Records label mate, Anders Osborne, and had the great pleasure to see a true master of the Delta blues, Roy Rogers.
Dreamlike, grandiose, cinematic, disarming. Each term could describe the emotionally arresting instrumental music of Explosions in the Sky, the post-rock poster boys from Austin, Texas. Each could also describe Explosions’ ongoing success story since the release of their 2007 album, All of a Sudden I Miss Everyone.
Does having a strong social media presence mean that your band doesn't need to invest in a website? Jon Satterley, Roadrunner Records' Senior VP New Media & Global Business Development, has your answer.
One of the most important things I can explain to people who want to become session players is how they need to take a good long look at those who have gone before. In this photo gallery is a list of some of MY faves -- and a brief description of each player.
The Epiphone and Gibson companies were fierce rivals in the Thirties, constantly trying to outdo each other’s designs. But with the death of its dynamic leader, Epi Stathopoulo, in 1943, Epiphone’s reputation for quality and innovation began to slide. In 1957, the East Coast–based company finally threw in the towel and sold its bass line, and the right to manufacture under the Epiphone name, to Gibson.
I thought we could kill two birds with one stone if we focused on recalling our earliest musical influences. This way, I can give you a feeling of where I’m coming from and will encourage you to dig into your own early musical influences and possibly have a clearer idea of where your musical voice was first formed.
One aspect I’ve noticed many players overlook in their quest for “ultimate shred-dom” is the ability to control their instrument. I’m all about blazing through scales and sweeping like hell, but a gratuitous display of such can compromise the melodic development of a line. And when we’re programmed to simply run up and down patterns while taking a solo, our lack of control can get the better of us when we run into speed bumps (pun -- sort of intended).