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).
Is anyone else annoyed when someone refers to how conservative the guitar market is? I am, since in the broader context this is just baloney. Also prompting this post is the comment, “Great, another Strat copy,” in response to a review I did on a Magneto Guitars Sonnet model.
With the death of Amy Winehouse on July 23, 2011, we lose not only a talented singer and songwriter, but an accomplished guitarist as well. While she is best known for her standout vocal performance, Winehouse could hold her own on guitar, preferring a Fender Strat.
Many of you may be under the impression that there aren’t a lot of female guitarists worthy of a mention on GuitarWorld.com. That is where you are DEAD WRONG! In fact, we have come across so many kickass players, across every genre and era, that we thought we’d give you a tasty tidbit of a few that stand out from the pack.
I can’t sing for shit. I play a lot of instruments (I like to think I play them well), I write what I like to think are pretty good songs, I have a good understanding of harmony, I have a good ear, I know a million cover songs ... but not being able to sing well has been my Achilles’ heel for as long as I can remember.
Bruce Spizer pursues his love of all things Beatles with an exhaustive — some might say compulsive — level of research and analysis. Now comes the latest book in Spizer’s series: Beatles for Sale on Parlophone Records, which covers all of the Fab Four’s singles, albums and extended-play discs issued in the U.K. from 1962 through 1970.