"You Can't Do That," one of many jealousy-themed songs in John Lennon's catalog, was released as the B-side of "Can't Buy Me Love" on March 20 while the band was hard at work filming A Hard Day's Night. It is the first of the film songs to be recorded at Abbey Road Studio Two -- on February 25, 1964 -- after the band's successful trip to the United States.
Synchronicities and kismet abound as three planets converge in mystical Pisces: the Sun, Mercury, and Neptune. The atmosphere is electric and highly conductive. Intuitive individuals have the opportunity to directly access the collective subconscious of humanity and channel that knowledge in to imagination and creativity.
By the fall of 1965, the Beatles and George Martin had come to regard the recording studio as a place to experiment, think outside the box and slowly pull away from their tried-and-true formulas. On October 12 of that year, they did just that, recording a brilliant new John Lennon composition inspired by a clandestine affair he was having at the time. The recording would feature an exciting new tool, George Harrison's sitar.
Since the real Grammy Awards have a penchant for actively ignoring 90 percent of rock and roll anyway, I thought it'd be fitting to come up with the Garage Rock Grammys: the Garammys — or the Garommys ... or something. Anyway, let's look at the best song, album and new artist from 2011, this time with guitar!
Here's a technique I use that helps me groove with an electronic four-to-the-floor dance groove. It's also is reminiscent of the "arpeggiator" plug-ins you hear in modern dance music, electronic music and even modern pop music like Pink, 30 Seconds to Mars, Lady Gaga and other well-known artists.
Around the time of the last entry I had just joined the heavy metal band White Wizzard (Earache Records), and shortly thereafter we left for a month long tour with Firewind in the United States, followed by a two month European run as direct support for Iced Earth.
This time around, I’d like to share a trick based around a deceptively easy-to-play, simple concept that will add some sophistication to your improvisations (while also being sure to turn heads with its attention-grabbing coolness!): open-voiced, string-skipping 7th arpeggios.
With an upside-down, left-handed style that can’t help but evoke Jimi Hendrix, Malina Moye straddles both rock and soul. Her enthusiastically funkafied spirit is contagious. She gorgeous. She’s talented. She can rock her ass off.
Look around you. There seems to be a seven-string renaissance happening at the moment. Actually, eight-string guitars seem to be going pretty strong, too. But there's something particularly satisfying about plugging in a seven and riffing out in between the traditional ranges of the guitar and bass.