http://www1.rollingstone.com/hearitnow/player/stevevai.html
http://www.rollingstone.com/music/news/song-premiere-steve-vai-john-the-revelator-20120724
Saturday, August 11, 2012
Steve Vai: "John The Revelator"
World premiere of the blues/gospel classic "John the Revelator" by Steve Vai from his soon-to-be-released new album:
http://www1.rollingstone.com/hearitnow/player/stevevai.html
See the whole story here:
http://www.rollingstone.com/music/news/song-premiere-steve-vai-john-the-revelator-20120724
http://www1.rollingstone.com/hearitnow/player/stevevai.html
http://www.rollingstone.com/music/news/song-premiere-steve-vai-john-the-revelator-20120724
Friday, August 10, 2012
Viral Crèche
"Viral Crèche" by Joshua McLean
part 3 of 3
Also see Ootheca and Nodal Point
part 3 of 3
Also see Ootheca and Nodal Point
 |
| "Viral Crèche" - Joshua McLean |
Symbiotic Relationship
- Elizabeth Beck
Living With Memories - elizbeck.blogspot.com
I use music to feed my soul to paint mixed media compositions while I am writing and revising poems. I am not a musician, but I am an avid fan and go to as many live shows as I can. I also attend poetry readings, art gallery shows and the theater. To commit to a creative life assumes the understanding that all genres of art are symbiotic. They are interdependent.
Artists must consume as well as express. It is inherent to our work to be well-read, to watch films, to listen to music, to study art in order to create our own work. Otherwise, we are doing ourselves a huge disservice, as well as to our audience and to our work. In terms of symbiosis as it relates to aesthetics, there are two different aspects: an external and an internal dynamic. Within the internal relationship, there are three parts: the artist's intention; the artwork itself and the audience.
Living With Memories - elizbeck.blogspot.com
I use music to feed my soul to paint mixed media compositions while I am writing and revising poems. I am not a musician, but I am an avid fan and go to as many live shows as I can. I also attend poetry readings, art gallery shows and the theater. To commit to a creative life assumes the understanding that all genres of art are symbiotic. They are interdependent.
Artists must consume as well as express. It is inherent to our work to be well-read, to watch films, to listen to music, to study art in order to create our own work. Otherwise, we are doing ourselves a huge disservice, as well as to our audience and to our work. In terms of symbiosis as it relates to aesthetics, there are two different aspects: an external and an internal dynamic. Within the internal relationship, there are three parts: the artist's intention; the artwork itself and the audience.
Thursday, August 9, 2012
"Isn't It a Funny World Nowadays?" (part 3)
"Isn't it a Funny World Nowadays?" by Caitlyn Waltermire
part 3 of 3 installments - read PART ONE and PART TWO
“What can I get you?” she asked with nothing like recognition. She held a portable order-taker and wore the ugliest shoes Albert had ever seen.
“Just coffee.” He expected he would have to run a napkin along the mug’s rim before drinking from it. Anger lapped wearily at the dish-washers for being so unapologetically mediocre at their sole programmed purpose.
Her fingers entered the order without her eyes leaving him, but their surfaces reflected every detail of the restaurant in minute entirety, so it was difficult to tell which part of him she was looking at; it appeared to be his left shoulder. “Cream and sugar?”
part 3 of 3 installments - read PART ONE and PART TWO
5:
The waitress Albert remembered stood next to him. She
smelled like a sack that held onions; a sack that had gotten very wet
then dried miserably crumpled on itself. It was not altogether terrible. Anything rustic was hard to find those days; it was too quickly swept
up. No one had reason to exert anymore, so the only sweat anyone ever
smelled was streaked with psychedelic drug, frantic and purple and
metallic. It all smelled metallic. Albert wondered when he had last
gathered a handful of dirt, and was gruffly embarrassed to realize he
needed to do it.“What can I get you?” she asked with nothing like recognition. She held a portable order-taker and wore the ugliest shoes Albert had ever seen.
“Just coffee.” He expected he would have to run a napkin along the mug’s rim before drinking from it. Anger lapped wearily at the dish-washers for being so unapologetically mediocre at their sole programmed purpose.
Her fingers entered the order without her eyes leaving him, but their surfaces reflected every detail of the restaurant in minute entirety, so it was difficult to tell which part of him she was looking at; it appeared to be his left shoulder. “Cream and sugar?”
''Freak Guitar - The Road Less Traveled'' Mattias Eklundh
- David "Skinny Devil" McLean
originally published at Tinfoil Music
Date: Tuesday, August 30 2005 @ 15:49:37 BST
When the package arrived from the mail, it was totally unexpected. When I opened it, it revealed the new release by Mattias Eklundh (you can read my December 2004 "Guitar Gods" interview with him HERE). Naturally, I ripped the plastic from it as I dashed to the CD deck.
If you haven't heard of Mattias "Freak Guitar" Eklundh, you are
missing out on some of the best guitar-centric music on the planet.
Unreal sounds pour forth in a frothy, frantic, bubbling stew of sound
guaranteed to stun you at every turn. The new release, "Freak Guitar -
The Road Less Traveled" (Favored Nations, 2005) is no exception. In
fact, it may well be his best work yet.
originally published at Tinfoil Music
Date: Tuesday, August 30 2005 @ 15:49:37 BST
When the package arrived from the mail, it was totally unexpected. When I opened it, it revealed the new release by Mattias Eklundh (you can read my December 2004 "Guitar Gods" interview with him HERE). Naturally, I ripped the plastic from it as I dashed to the CD deck.
''GUITAR GODS: Jason Becker''
originally published at Tinfoil Music
Date: Tuesday, December 07 2004 @ 15:32:06 GMT
===
The tragedy of Jason Becker often overshadows technical brilliance of his performances and the scope of his musical offerings, but today we celebrate the man & his music.
Jason began with guitar at a very early, and before he was 20 years old he had already recorded with friend Marty Friedman (see Marty's "Guitar Gods" interview here) for Cacophony's "Speed Metal Symphony", toured the world (especially Europe & Japan), and more. How much more? Try another Cacophony album (1988's "Go Off!"), a solo album ("Perpetual Burn", also in 1988), guest spots on recordings by Marty Friedman, Greg Howe, and Ritche Kotzen (see Greg's "Guitar Gods" interview here), a Hot Licks instructional video, various "best new guitarist" awards, and the covers of numerous guitar magazines.
At the ripe old age of 20, Jason was recruited by none other than David Lee Roth to replace Steve Vai (go here for our Vai interview & lesson), and found himself in the studio recording "A Little Ain't Enough" (1991). It was while wrapping the recording sessions that Jason was diagnosed with ALS. He dropped from the band before the tour, but continued to record in his home studio, ultimately completing a second solo album, "Perspective" (1996). "Raspberry Jams" (a collection of demos) was released a few years later, followed by "Blackberry Jams".
While his many friends & peers have stepped in on his behalf - Eddie Van Halen campaigned to have "Perspective" released on Warner, and other guitar stars contributed trax to "Warmth in the Wilderness: A Tribute to Jason Becker " (Marty Friedman, Paul Gilbert, Vinnie Moore, Chris Poland, Jeff Watson, Mike Campese, Stevie Salas, and more) and "Warmth in the Wilderness 2" (Steve Vai, Randy Coven, Rusty Cooley, Joe Becker, and more) - it's worth noting that Jason continues to work on new music. While he is unable to play guitar and is extremely limited physically due to ALS, his mind is full of deep ideas for new music.
It is also crucial that we realize the enormous impact Jason had on guitar music in such a short time. While he is certainly not a household name, Jason has inspired more guitarists to great musical heights with just a few recordings than perhaps anyone since Jimi Hendrix. Part of this is certainly because Jason is such a nice guy; part of it due to his unique circumstances. But none of that holds any water without extreme talent. Even a cursory listen to Jason's work will dazzle even the most finicky and hard-to-pease listener. With unbelievable technical command of the instrument and an uber-modern sense of harmony, Jason exploded onto the scene and will continue to influence budding guitar gods for decades to come.
To keep up with new developments from the Jason Becker camp (and to hear music, see video, and more), visit his web-site.
At the ripe old age of 20, Jason was recruited by none other than David Lee Roth to replace Steve Vai (go here for our Vai interview & lesson), and found himself in the studio recording "A Little Ain't Enough" (1991). It was while wrapping the recording sessions that Jason was diagnosed with ALS. He dropped from the band before the tour, but continued to record in his home studio, ultimately completing a second solo album, "Perspective" (1996). "Raspberry Jams" (a collection of demos) was released a few years later, followed by "Blackberry Jams".
While his many friends & peers have stepped in on his behalf - Eddie Van Halen campaigned to have "Perspective" released on Warner, and other guitar stars contributed trax to "Warmth in the Wilderness: A Tribute to Jason Becker " (Marty Friedman, Paul Gilbert, Vinnie Moore, Chris Poland, Jeff Watson, Mike Campese, Stevie Salas, and more) and "Warmth in the Wilderness 2" (Steve Vai, Randy Coven, Rusty Cooley, Joe Becker, and more) - it's worth noting that Jason continues to work on new music. While he is unable to play guitar and is extremely limited physically due to ALS, his mind is full of deep ideas for new music.
It is also crucial that we realize the enormous impact Jason had on guitar music in such a short time. While he is certainly not a household name, Jason has inspired more guitarists to great musical heights with just a few recordings than perhaps anyone since Jimi Hendrix. Part of this is certainly because Jason is such a nice guy; part of it due to his unique circumstances. But none of that holds any water without extreme talent. Even a cursory listen to Jason's work will dazzle even the most finicky and hard-to-pease listener. With unbelievable technical command of the instrument and an uber-modern sense of harmony, Jason exploded onto the scene and will continue to influence budding guitar gods for decades to come.
To keep up with new developments from the Jason Becker camp (and to hear music, see video, and more), visit his web-site.
I had a chance to rap with Jason recently. Check it out!
========
1. What are your current projects?
I am hoping to write new music with lyrics. That will be a big challenge. I would also like to put out a "Best of" CD with a couple of new things on it, but I don't see the point, because my records don't really sell shit.
2. How does this (do these) differ from your past work?
My new music would be less complicated - more like Peter Gabriel.
3. Do you have one project that you are most proud of as a guitarist?
Oh, I guess "Images", "Opus Pocus" and "Meet Me In the Morning" and some "Raspberry Jams".
4. Can you give our readers a run-down of your basic gear?
Mostly a 100 watt Marshall, Seymour Duncan JB, Boss super overdrive, and really, any good guitar and effects thing.
5. Who would you cite as early influences, and who are your favorite new players?
Clapton, Beck, Hendrix, Roy Buchanan, SRV, Eddie Van Halen, Morse, Yngwie, Uli Roth, Marty Friedman and Steve Hunter. There are some really good players on Favored Nations and Liquid Note Records, but I don't know their names.
6. Can you give a few tips to aspiring players?
Practice a lot, listen to different kinds of music to get your own style, be a nice person, learn from everyone you can, don't be a snob, and get yourself heard anywhere.
7. What are your future plans?
Stay alive.
8. Thanks for talking to us, Jason!
My pleasure. Thanks, man.
=====
====
As always, if you find these lesson articles (or any of my work) valuable, please feel free to donate one time or support monthly:
Monthly support: https://www.patreon.com/skinnydevilmusic or https://www.paypal.me/skinnydevilmusic (Pay What You Will)
One-shot support: https://www.paypal.me/skinnydevilmusic or www.venmo.com/David-McLean-47 (Pay What You Will)
Tuesday, August 7, 2012
Free Music - An interview with Ram Samudrala
- David "Skinny Devil" McLean
originally published at Tinfoil Music
Date: Friday, October 26 2001 @ 16:45:03 BST
Ram Samudrala is author of, among other important works, the "Free Music Philosophy" - which can be accessed via Ram's site (http://www.ram.org) or the EFF's site (http://www.eff.org). In essence, Ram's manifesto offers a unique and radical solution to the problems associated with copyright law and it's current abuse.
I had the opportunity to speak with Ram recently...
1) Ram, how & when did you first get interested in copyright issues (specifically) and IP issues (in general)?
It probably began in 1990 or so, when I got into Unix, GNU Software, and the growing Linux movement. It came to a head after some exchanges on alt.music.alternative in 1994/1995 about the nature of music (which involved Bill Barbot of the band Jawbox who had just been signed to Atlantic, and later dropped). At this point, I decided to write the Free Music Philosophy.
2) Can you sum up the "Free Music Philosophy" and tell us if it has evolved since your original essay was written?
originally published at Tinfoil Music
Date: Friday, October 26 2001 @ 16:45:03 BST
Ram Samudrala is author of, among other important works, the "Free Music Philosophy" - which can be accessed via Ram's site (http://www.ram.org) or the EFF's site (http://www.eff.org). In essence, Ram's manifesto offers a unique and radical solution to the problems associated with copyright law and it's current abuse.
I had the opportunity to speak with Ram recently...
1) Ram, how & when did you first get interested in copyright issues (specifically) and IP issues (in general)?It probably began in 1990 or so, when I got into Unix, GNU Software, and the growing Linux movement. It came to a head after some exchanges on alt.music.alternative in 1994/1995 about the nature of music (which involved Bill Barbot of the band Jawbox who had just been signed to Atlantic, and later dropped). At this point, I decided to write the Free Music Philosophy.
2) Can you sum up the "Free Music Philosophy" and tell us if it has evolved since your original essay was written?
'GUITAR GODS: Troy Stetina''
- David "Skinny Devil" McLean
originally published at Tinfoil Music
Date: Monday, April 19 2004 @ 16:39:32 BST
If you play guitar, you've probably heard of Troy Stetina - author of over 30 instructional books for Hal Leonard, owner of Artist Underground recording studio, contributing writer for Guitar One Magazine, former director of rock guitar at the Wisconsin Conservatory...
What you may not know, however, is that Troy has
released three CDs of incredible music - music that you need to hear
now.
Troy first picked up a guitar at the ripe old age of 12, learning songs by Kiss and Zeppelin. As he developed and learned increasingly difficult pieces (Van Halen, Ozzy's Randy Rhoads, and the like) he became interested in classical guitar and then in performing. He started his first band at 18 and was soon gigging constantly, and began teaching guitar.
originally published at Tinfoil Music
Date: Monday, April 19 2004 @ 16:39:32 BST
If you play guitar, you've probably heard of Troy Stetina - author of over 30 instructional books for Hal Leonard, owner of Artist Underground recording studio, contributing writer for Guitar One Magazine, former director of rock guitar at the Wisconsin Conservatory...
Troy first picked up a guitar at the ripe old age of 12, learning songs by Kiss and Zeppelin. As he developed and learned increasingly difficult pieces (Van Halen, Ozzy's Randy Rhoads, and the like) he became interested in classical guitar and then in performing. He started his first band at 18 and was soon gigging constantly, and began teaching guitar.
"A Day in the Life: John Cubit - Diet & Work-Out"
-- John Phillip Cubit
Lexfit.com
Training location: Home Gym, my basement is converted into a gym.
My workouts at home are much more focused and productive than going to a commercial gym where most of the people there are having social hour. You don’t need a fancy gym or tons of equipment to exercise.
Training philosophy: Listen to your body - it’s better to under-train than to over-train. If I’m tired, I won’t workout that day. If I feel strong then I’ll push myself harder. I train usually 5 days a week for about 45-60 minutes which breaks down to 1 body part a week. My main focus is the eccentric, or stretch, part of the exercise. This is the part of the movement that tears down muscle fiber and with proper diet and rest, tissue will repair itself stronger and larger.
I do not do cardio or abdominal training period. My workouts consist of high reps using light to moderate weight with 30 second rest periods between sets. This type of training is my cardiovascular training.
Lexfit.com
Training location: Home Gym, my basement is converted into a gym.
Training philosophy: Listen to your body - it’s better to under-train than to over-train. If I’m tired, I won’t workout that day. If I feel strong then I’ll push myself harder. I train usually 5 days a week for about 45-60 minutes which breaks down to 1 body part a week. My main focus is the eccentric, or stretch, part of the exercise. This is the part of the movement that tears down muscle fiber and with proper diet and rest, tissue will repair itself stronger and larger.
I do not do cardio or abdominal training period. My workouts consist of high reps using light to moderate weight with 30 second rest periods between sets. This type of training is my cardiovascular training.
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