Bruce Lee’s famous exhortation to be like water may just as well have been directed at guitar players. The first of Season 2’s revelations, downward pickslanting, is shapeless and formless. It becomes Yngwie. It becomes rock. It becomes music. It’s one of the most universal and adaptable mechanics in picking — and for guitarists, the root of many of the most celebrated techniques in history. Read More
In 1986, Steve Vai was having one of those years. March saw the debut of the film Crossroads, for which Steve wrote and performed both the rock and neoclassical sequences of the now-famous guitar duel, and in which he also landed a starring role as the devil’s swaggering henchman, Jack Butler. Trailer clips of the film’s climactic musical showdown, with its mesmerizing cascade of diminished arpeggios, had just begun to explode adolescent minds across the country when David Lee Roth stepped into the studio with Steve to record his highly anticipated post-Van Halen grudge album.
The Cutting Room Floor
Not all great ideas make the final cut, and the overly ambitious scene “Eddie’s Arcade”, from Season 1, Episode 1 of Cracking the Code, is a great example of that. An over-the-top homage to Tron Legacy and Back to the Future, it was a tour de force of cinematic animation whose demands on my personal time were ultimately at odds with the exigency of actually getting things finished.
Centrifugal Funk was supposed to be just another one of those guitar compilations. Released by shred pornographer Mark Varney in 1991, it featured a trio of hired guns laying down silicone-enhanced solos over processed covers of trad jazz tunes. This was the era of Nirvana and Pantera, and the infomercially polished karaoke numbers on the disc were already dead on arrival. But the formidable talents of the help bordered on necromancy. Read More
If you’ve ever been humbled by the effortless speed and harmonic fluency of our string-slinging siblings south of the Mason-Dixon line, you’re in good company. So universal is the admiration among shred masters for their flatpickin’ and fingerpickin’ brethren that country-inflected radio rock tunes like Van Halen’s Finish What Ya Started comfortably share iPod space with the striking industrial-country fusion of players like John 5. Then there are the bona-fide switch hitters like Eric Johnson and Steve Morse, whose dual citizenship in roots and rock essentially moot the question. Suffice it to say that a healthy fear of country skillz is an integral part of the shred psyche. Read More
This lesson appeared originally as a master class at InsaneGuitar.com.
It’s always exciting to get your hands on something you can’t get anywhere else. So as a measure of thanks to Joel Wanasek for inviting me to do a guest column at InsaneGuitar.com, I offer up a transcription you won’t find anywhere else on the internet. It’s none other than the guitar solo to Nitro’s Freight Train, the most over-the-top ’80s metal song you never heard. Read More
When they named it shred, this is the song they were thinking of: soaring leads, piercing vibrato, weepy tremolo, slippery legato, and ferocious picking, simmering over a roiling cauldron of drum and bass that’s almost as funky as it is angry. We’re talking about Now Your Ships Are Burned, the third track from Yngwie Malmsteen’s watershed 1984 album, Rising Force. Read More
My favorite parts of Michael Angelo‘s seminal instructional video Speed Kills are the impromptu, undocumented solos that pop up occasionally throughout the DVD. There are precisely four of them, and I like to think of them as being named by the huggably cheesy dialogue that invariably surrounds them. If you’re familiar with the video, you might recognize such basement-tape classics as The Art of Playing Lightning Fast, The Keys to the Lamborghini, You Can Just Kick Back, and Tendonitis. Read More
Got Caught Stealing Once, When I Was Five
Back when I was learning to play in the late ’80s, I used a Casio SK-1 to steal licks off records. For those who are not familiar with the SK-1, this thing was basically a miracle.
It’s a 31-note keyboard with a built-in sampling function. Press the “sample” button, and it would record exactly 1.4 seconds of whatever you threw at its little microphone. Pressing middle “A” on the keyboard played back the sample at actual pitch and speed. Press the next lower “A”, and you heard the sample one octave lower and at half-speed. And so on. Read More