Please enjoy your Guitar
AJ Wilkes
analysis, just some things to help people out who can't get into this album.
Make any comments you wish - I'm off to play in the sand box.
"Guitar"
I've owned this album for years now. When I first got it, I had the same
kind of reaction as many people - nice, but a bit samey. I'd put it on and
find myself skipping through tracks; fifteen minutes later, I'd be at the
end of a disc.
During my last lot of exams, I found myself putting on Guitar as background
music while working - I usually choose something fairly non-descript to
revise to, else I get distracted. However, I must have been subconsciously
'absorbing' the music, as I really started to get into it. Like a lot of
things (CP3, Trout Mask Replica) it seems the less you try, the easier it is
to listen to.
Anyway, after that I started to get to know the solos and pick some
favourites - and now they absolutely DON'T sound the same! Granted, there's
less variation in tone and lineup than in SUNPYG, but once you dig deep (and
in particular, dig the deep frequencies) you'll unearth some of the most
creative music in Zappa's oeuvre*.
Obviously, all the tracks are improvised situations, both on FZ's part and
the surrounding musicians - I'm sure this makes a difference to the
listening experience, but whether it SHOULD I can't say. One reason I've got
so into Robert Fripp's Soundscapes CDs is because of the method behind it -
based on improvisation and loops. Should the fact that music has been
improvised rather than worked out beforehand make it more impressive, or is
this a case of 'Ooh isn't the disabled girl good at playing the piano?' If
you don't get my meaning, then don't worry - it won't come up in the test.
*Are there any words with FIVE vowels in a... oh nevermind.
Disc 1;
1. Sexual Harassment In The Workplace
A nice easy one to start with; a rough minor blues form. I can see why some
people have thought that this solo came from Stinkfoot, with the two-chord
motif on each change, but on the other hand Stinkfoot has never had a solo
remotely like this. It's quite a restrained solo; FZ's take on a perverted
blues without too much in the way of out-Vai-ing his early 80s compardre.
It's about as Slow a Hand as FZ could manage - you could play it to your Dad
and he might mistake it for Eric Clapton.
Blue.
2. Which One Is It?
The Them Or Us vamp as transformed at Eva's Wedding - sorry,
Yucky-de-Toesucker #5. Basically the last three minutes of that track, with
some heavy rhythmic stuff going on to begin with. FZ calms down after a
while, but not until 1:38 does he start playing what can be recognised as
phrases rather than chunky-noise. The vamp is basically constant, without
too much room to manoeuvre for the rest of the band.
The solo is nicely formed but there ain't too much to it - it's like it
starts at the top of the hill, rolls down the side and then stops at the
bottom. At three minutes long, it comes in (at the crucial #2 position -
like, if there weren't a #2, where would we all be???) does its stuff and
gets out.
Inoffensive.
3. Republicans
Nowyertalking. This track goes beyond the realm of 'solo' and into the
underwurlde of spontaneous composition. Based around a guitar loop,
basically just one chord sent through a delay pedal (as were all the loops
in '84) it is almost perfectly constructed - the bass note only changes
about four times in the song, and every time it just gives it a little kick
forwards, and even those sacred (sorry, hated) DX7 chimes fit into the sonic
picture.
The guitar playing is actually very restrained, even the feedback - apart
from a few groups of blurry-picking frenzies, the majority of phrases are
well chosen and nicely understated; indeed, if someone was to tabify the
MIDI file, learning it should be on the good side of difficult. I tried to
pick out some parts to watch out for, but just couldn't - they all act as
one; one twisted republican, snaking his way across the land, drool dripping
from his lustful grin, on the search for ever more power and corruption.
And the scary thing about this solo is what ISN'T being played... the rest
of the notes are under your bed.
Beware.
4. Do Not Pass Go
Making the second half of a trio-sans-une with the former track, this is an
excellent contrast. Might not be as pretty as St Etienne :) but not a phrase
is wasted - you get the feeling you're being told a story, and the band are
in on the plot too.
The lead tone varies from a plunky-clean Strat to just edging into
harmonious feedback. The double-stop/broken chord playing is reminiscent of
Little Wing and, along with tasteful trem bar work, really gives some
substance to the melody - it's not a wimp-out track by any means. Apart from
the general construction of the melody, the feedback at 2:04 is a real focal
point - sort of a halfway point between the start and the delicious
scoopy-chords at the end.
Special mention goes to Thunes bass playing; listening out for this brings
an extra dimension to most of the tracks on this album. He's pretty much the
one responsible for shaping the solo. Check it out from 1:13 onwards - lines
like this really make the solo come alive; and it's topped off with the
heavily chorused ambient guitar at about 1:37. And are those harmonics at
2:50 from the guitar or the bass? Who can tell???
Mmmm.
5. Chalk Pie
Um, okay. I'm not really in love with the tone on this one, both the lead
and 'spikey' bass guitar. This is a little too samey, and quite a few of the
phrases don't seem to come off - most notably at 1:37, where Thunes apes a
line FZ just played, perhaps merely to highlight how bad it sounded.
The rhythm section just don't seem to gel with the lead - FZ doesn't seem to
be listening to what they're doing. The solo doesn't seem to know when to
stop, and at 4:52 is at least a minute too long.
I'd like to think of it as a parody of a guitar solo, but I can't.
Hmmm.
6. In-A-Gadda-Stravinsky
I could survive without this one too. Alright, so it's a novelty to have two
well known classics played side to side, but the results weren't of earth
shattering value. The 'Garden Of Eden' bass riff sounds a little silly,
detracting from the (passable) solo above it. At 1:20 the band breaks down
to a non-vamp (as Foggy says) but the lead is still uninspired. There are a
few nice bass phrases in there somewhere, but the semi-quote from 2:00
onwards (which I can't place) brings it right back down again. It's
interesting to note that both this and the previous track weren't released
on the vinyl version - perhaps it was difficult to find enough great solos
to justify filling two CDs?
Maybe it's my ears, but I can't take this solo seriously.
Then again, many people can't take MY EARS seriously.
Incidentally, I've only just noticed that the CD cover titles this song as
In-A-Gadda-Stravinksy. Anyone else's?
Sasquatch.
7. That's Not Really Reggae
Quite a straightforward solo; nothing fantastic, but then nothing that jumps
out as sounding 'wrong'. The lead gets fairly frenetic at times, but there's
just enough contrast to stop it becoming boring. At just over three minutes,
it's short enough not to cause unwarranted distress to those weaned on the
world of SUNPYG.
It might not really be reggae, but a reggae beat leaves a lot of rhythmic
space to play around in - particularly for the bass. Playing a 'heads down,
see you at the end' 4/4 tends to lock you into playing similar things or
sounding out of place, but you can bop notes all over a reggae beat and just
end up sounding even more funky than you did before.
Pleasant.
8. When No One Was No One
The second half (?) of the opening solo from Koln, this is an even better
demonstration of the spacious reggae-stylee - it's a very relaxed, unhurried
beat, and the guys can take their time to build it up. Thunes' bass has an
odd 'blumpy' sound at times, but it still sounds great when playing notes
high up the neck. This is a good example of his ability to play guitar-esque
lines but still remain very much in a supporting role. FZ thought that
playing with Jack Bruce was difficult because he tended to play 'lead bass',
but Thunes never steps on Zappa's toes.
Listen to the bass, relax, and enjoy.
Contented.
9. Once Again, Without The Net
This one picks up the energy not used up by the previous track - the driving
looped chord sets the pace, and Wackerman seems to like it so it stays. To
begin with there's actually very little backing, just a kind of a 'wash of
sound' from the keyboards which forms a very nice introduction to the track.
Once Chad is locked onto the Andy rhythm, Thunes picks it up after a couple
of bars, the keyboards pretty much drop out, and 'Track9 - stage2' begins.
Zappa varies the tonality a little more in this solo than many others -
maybe because there's very little else going on. The bass mainly sticks to
the root, chucking in the odd 'colour-chord' for variation. Other than that,
it's a nice opportunity to hear a solo with FZ doing all the hard work.
Listening to tracks like this now, they seem light years ahead of the stuff
on SUNPYG - the change to a more conventional drummer is the obvious
difference, but I still can't help listening to most SUNPYG tracks and
thinking they're a touch on the 'medieval' side. Yes, there's weird rhythms
going on; but there are plenty of weird rhythms on Guitar, they're just so
well integrated with the Big Picture that they don't jump out at you.
Tension.
10. Outside Now (Original Solo)
Plonked onto the Keep It Greasey vamp on Joe's Garage, it should be
recognisable from 1:26. It's a strange feeling hearing a solo in a totally
different (almost opposite) context to the one you're used to - kind of
similar to when I first tried Hickory-Smoke Pickled Onions: "I'm eating
onions... but they taste like peanuts..."; oddly disorientating.
This solo starts off very relaxing, the drums especially being conspicuous
in their restraint (Smothers! Take those chains off of him!) compared to
other Colaiuta excursions. Whether it's the sound quality or what, but I
don't really get too excited over this solo - it's great to start with, and
the first few notes always make me smile, but I think it goes on for a
little too long.
BTW - on returning to Germany at the end of 1979, they must have run into
some extras from the At The Circus bootleg, as you can hear an elephant just
past 2:00. Check it out...
Nostalgic.
11. Jim & Tammy's Upper Room
I've never been a fan of the Advance Romance vamp, especially one without
that little descending riff in it. but this is enjoyable enough, and at
three minutes blah blah blah you've probably got it by now. The opening
phrase is a strong one, and pretty much sets the scene for the rest of the
solo. Quite aggressive playing by FZ, although breaking character for a
funny little wobble at 2:05, and it's the lead guitar that tends to drive
this one forward - there's minimal variation in the rhythm section and the
drums are essentially plodding along continuously. As with most solos on
this album, however, it knows when to finish and as such doesn't overstay
its welcome. This is a Good Thing. Trust me.
Thud.
12. Were We Ever Really Safe In San Antonio?
Who knows, but this is one of only two released 1984 Drowning Witch #2
solos, and it's pretty good. Again, a shorty, and again, nicely put
together. The harsh guitar tone doesn't do it any favours, especially
comparing it to the earlier incarnations, and it sticks pretty much to
standard Witch-territory. There was much more variation in the 81/82 takes;
listening to the concert tapes, the Drowning Witch solos could go off in any
direction.
The band provide adequate support, with some nice chords by Thunes (as
usual) and some quite intricate lines that you never notice unless you
Really Look For Them. Given the sound of the lead guitar against the nature
of the vamp, this is ugly-sounding beautiful music. Hence:
Beaugly.
13. That Ol' G Minor Thing Again
The guitar tone on this one seems to have been processed somehow, as when
the first phrase comes in it doesn't seem to fit in with the rest of the
band. Indeed, it surprised me to find out that this wasn't from 1984,
especially with the sound of the snare drum. A semi-reggae vamp that most
people are familiar with (including Carlos Santana), this is almost another
blues-style workout, missing much of the dissonance of many FZ fretboard
outings. It gets fun around the two minute mark as the loops kick in, and
the whole band get to jam around a little, with keyboards and rhythm guitar
coming a little more to the fore.
It all goes a little crazy near the end, as the loops are transposed up and
down. Indeed, probably less than half of this track actually has Zappa
soloing on it! May not sound like much written down, but you get through
five minutes worth without noticing it - always the sign of something good.
Groupicious.
14. Hotel Atlanta Incidentals
ANOTHER reggae solo; what was he thinking? You have to listen past the
reggae, though - don't let reggae take over your perceptions. For if you do,
you'll forever be bopping on the 3 of a 4/4, and your life just won't be
worth living.
At times this gets to be almost a duet between FZ and Scott Thunes - Thunes
is very active on this one, even though the overall feel is very laidback.
On tracks like this, it's good to have a run through simply listening to
what the bass is doing, and then compare it to the guitar - otherwise you
may just hear a mush of notes that you can't discern. There's very little in
this track apart from guitar, bass and drums - the keyboards are fairly
inconsequential - but that allows you to really hear what's going on.
It may not be one of FZ's best solos, it doesn't have great structure, but
it should keep your attention throughout.
Interesting.
15. That's Not Really A Shuffle
Great vamp - I think the equivalent solo on Trance-Fusion is called
Diplodocus, which is a great name too. Either way, it isn't really a
shuffle. But Ricky DID lose that number - so what do I know?
Pretty straight-ahead stuff - not much room for the rhythm section to
variate so FZ pretty much drives it along by himself. Sounds very much like
a RAWK solo - hyper-blues licks and noisey squonches abound. There are some
nice phrases after the three minutes mark, including the pseudo-tapping
stuff, before it calms down a little and drops back into the sea like all
good diplodoci should. Segues nicely into the next one, too.
Obnoxiousaurus.
16. Move It Or Park It
Another, more traditional, Them Or Us solo and this is Chad's chance to
shine, with minimal intrusion from those annoying melodical bandmembers; old
fashioned tub-thumping at it's optimum.
This track (and the previous one (in fact all of them)) needs to be played
at a reasonable volume - this IS rawk, remember. There's plenty of
opportunity for noisy whammy bar dives, crunchy chords - ouch! - and
basically playing whatever notes you want to because there's no-one else
playing except the drummer and he's off paradiddling and septahurdling all
around his kit with his eyes closed. The irrepressible bass player drops in
at 2:42 to finish off Frank's lick for him, and then proceeds to produce
that funky descending note line in unison with Chad - he's such a rascal,
that Thunes! And who's doing those harmonics at 5:20?
Essentially a drum 'n guitar duet, this also does more for me than anything
off of SUNPYG. The addition of a vibrato bar plus (perhaps) the motivation
of having young-gun Vai around really took his playing to another level, and
he was surrounded by players that could follow him and, at times, guide him
along the way.
LOUD.
17. Sunrise Redeemer
Very much a Thunes-led solo, the funky opening bass riff has a 'good time'
feel to it, which is heightened when he drops the 'colour chords' in from
1:47. Considering that it was (very likely) all improvised, it's a great
vamp that could have been used again. It was used just once (I'm assuming),
and is all the more special for it.
At just after three minutes, the vamp disappears, and what happens next is
perhaps the most special thing on the album. The tonality changes to a
slightly darker sound, and at 3:40 the chord shifts with dramatic effect,
slowly migrating back to the root with a descending synth line that fits
perfectly. Amazingly, all this occurs in the fade! The very last audible
phrases are a bit pants though, so I can only assume that the rest of the
solo fell apart; the fact that it's a slow fade means we can enjoy the good
bit without having a sudden finish when the crap bit comes. Good work,
Batman.
I always find it more interesting when musicians don't stick to the same
thing all the time when improvising, and this seems to apply mainly to the
'84 Cleveland solos - anything with a single guitar chord loop in the
background. They could pretty much go anywhere, as can be seen by the
variation across the examples on this album.
Intriguing.
Disc 2;
1. Variations on Sinister#3
Great sound to start the second disc off with - the very first chord always
strikes a, um... chord. Foggy describes the Easy Meat vamp as a non-vamp,
which is a fairly good way of describing it - it doesn't have a riff as
such, and is more of a 'feel' than a particular combination of notes.
Variations is quite high-paced, with frequent use of the Sinister#3 intro
and the rest of the solo following along similar lines. Again, the bass is
integral in shaping the solo, moving around the root and filling in with
little chords here and there.
This is another solo where time passes very quickly for me, which tends to
suggest that there isn't a part of the track which is 'redundant' - with
some solos (and songs too) I find myself looking at my watch or reaching for
the skip button. I was very surprised to discover that this wasn't on the
vinyl release - it in no way smacks of filler material.
Direct.
2. Orrin Hatch On Skis
After my less than complimentary dissing of Chalk Pie and In-A-Gadda, I was
expecting to do the same to this, this... CREATION. But I actually found
myself enjoying it. Perhaps visualising the title helps (even though I know
not Orrin Hatch) but it's quite a bouncy little number, amusing in its own
way. Partly because it's short and partly because of the downright
EMBARRASSING lick at 1:09, it gets the thumbs up.
Jaunty.
3. But Who Was Fulcanelli?
That doesn't matter right now, who was the editor who let this segue pass?
I'm not sure what's going on there, but once the solo starts going it's
quite enjoyable. Not as 'serious' as Do Not Pass Go, it's difficult to
visualise that these both came from the same song. The tone is perhaps a
little TOO plunky and harsh, but there's some nice bass work and a little
dramatic percussion in the background somewhere.
Nothing special, but then neither are Ferrero Rocher.
Passable.
4. For Duane
I hope Duane was listening, because they done got no buddy rippin' up frets
like dat doggone buddy Frank, lemmetellya, he's gettin' down like a mufka,
ahtellya - fry mah hiiide! Blues-on-ludes vamp, some serious rawk guitar,
and a drummer who 'took it to the bridge' weeks ago and is now somewhere
over the ocean. Yes the tone is harsh, but it's also solid and that's what
was needed. This combination makes for some spine-tingling 'beating' between
notes when two or more are played at the same time.
Another Thunes-in-the-background situation, but a notable rhythm section
incident occurs at 1:43 - Chad switches syncopates across the beat, and
Thunes plays a regular phrase WITH the beat (I think) and they sync up again
at the end of the bar. Neat.
There's too many licks-of-interest to mention them all, but suffice it to
say that this is at least a minute too short.
Nuclear.
5. GOA
Before I came to write this piece I'd never really paid much attention to
this solo, but it struck me as another instance where the bass MADE the
solo. Thunes isn't very active rhythmically but he moves around the scale
changing the perspective enough to keep things interesting. There are also a
LOT of chords being played, which thicken up the backing for the lead stuff
going on on top. Then there's that little tense portion at 3:25 and onwards
that marks the beginning of the end. I haven't even listened to the guitar
yet, and I still think this is fantastic music.
To the guitar, then. Like Republicans, quite restrained although not as
menacing; I'm so enamoured with the bass I can't even start to describe the
guitar yet - it degenerates into scratches and fret noise at times, and is
very organic, but listen to it for yourself.
AND another great segue.
Galactic.
6. Winos Do Not March
Recognisably a Sharleena solo, and nothing too different from the standard
Sharleena solo. It serves as a nice comedown after the previous two tracks,
and as such fills its role. Next!
Familiar.
7. Swans? What Swans?
Nicely segued, this sounds similar to the Drowning Witch solos, but is in
fact from an '81 Cleveland. Special mention to the keyboards and rhythm
guitars on this one - a very expansive backdrop of sound. It continues the
downward trend of energy level and as such isn't too hectic - there's some
really pretty sections in there which build, albeit slowly, to give a sense
of contrast. I give the band credit for not running away with this one -
very tastefully played.
As to the lead itself, I've almost stopped thinking about the guitar as
being separated from the band with most of these solos - it's difficult to
describe what's going on, and as with other solos, I can't pick up
'favourite bits' as they all fit together so well as a whole. You decide.
Magnificent.
8. Too Ugly For Showbusiness
YET ANOTHER reggae solo - anything special about this one? Not really - but
that's not to say that it's no good. Nothing sticks out as being
particularly special, but it's fairly consistent along it's length (unlike a
few current Presidents, oh yes, bit of politics missus) and you can't have
greatness all the time - where would you put it???
It's good to have an 'ordinary' track after the past few solos; ordinary in
that the rhythm is fairly regular and it's relatively easy to follow.
Conventional.
9. Systems Of Edges
Again, it may be the sound quality, but this solo doesn't do too much for
me. There seems to be a lot going on, but it just doesn't sound dynamic
enough. Comparing the two '79 tracks with SUNPYG tracks from the same tour,
these seem more sedate, without the urgency and craziness that the SUNPYG
ones seemed to possess.
While the different lineup is a contrast to the Thunes/Wackerman rhythm
section, these seem like token tracks rather than being chosen for their
merit. Either produce an album of 80s material, or go the whole hog and make
a mixbag from all tours - including some '74 stuff would have been VERY
interesting.
Bland.
10. Do Not Try This At Home
The segue from Systems of Edges throws us straight into Them Or Us guitar
tomfoolery. VERY similar to Move It Or Park It, but then that's no bad
thing. Less loud, less noisy, less powerful, but still good to listen to.
The Them or Us vamp rarely bequeathed us a bad solo, and it seemed Zappa
could carry on playing forever. And he has.
[Um, no he hasn't: Ed]
Solid.
11. Things That Look Like Meat
Hm, 80s Tiny Lights solo. In it's songular context it always seemed to drag
the song down, but taken as a standalone piece it's seen in a different
light. This is one of the longest solos on the album, but I don't really
think it deserves that accolade. To use the current parlance, this is a solo
that "doesn't really go anywhere" - which, at six and a half minutes, is a
lot of sitting around.
Nothing particularly inspires me about this solo, and it didn't seem to
inspire FZ either - the rhythm section seem to have been on autopilot for
the duration.
Superfluous.
12. Watermelon In Easter Hay
This is a good track, but it's not Stellar the way that the Joe's Garage
version was. In fact, I've never heard a live version that came anywhere
near the studio take. The middle solo part is quite enjoyable, it's just
that the vamp now sounds ordinary, and the theme doesn't have that ethereal
quality that the highly-reverbed JG track had.
Don't get me wrong, this is a great track; it's just that it was always
going to be a disappointment.
Warning: Your opinions may differ. Your opinions may go down as well as up.
If you do not keep up the investment on your mind you are in danger of
losing your opinion.
Disappointing (unsurprisingly)
13. Canadian Customs
Given that NONE of these last three tracks were on the vinyl, it's rather
nice to know that they're very good. CC is another Cleveland solo, and
Zappa's opening phrase is exactly the same as the one from Republicans.
While it has a similar tonality, it's a very different solo - faster, with a
frantic bass riff bouncing over the background.
I'm running low on energy, but this is a good solo.
Frenetic.
14. Is That All There Is?
Part two of a trio-sans-une-plus-une is the sweetened ham in the middle of a
crunchy bacon sandwich. Where's the bread? Please, don't ask such silly
questions...
Similar to Swans in that it has a relaxed feel to it, but doesn't quite have
the drama that the former solo builds up. Picture swimming in warm Atlantic
water for 4:08 and you have a good idea of what this solo is about.
15. It Ain't Necessarily The Saint James Infirmary
Last track. 'Bout time, this has taken ages. :(
It's nice to have a 'special' track to finish; I assume that at least part
of this track was worked out beforehand, and that the whole band didn't just
rush into these two tunes telepathically.
Tommy Mars' synths seem to be to the fore during the themes (start and end),
but other than that it's FZ all the way - even Thunes pretty much sticks to
the King Kong riff. Nicely paced, not at all rushed, and building to a
conclusion at the right point - crafted, almost.
As it reaches the end, there's that part where FZ goes up an octave to play
a little twiddle at 4:54 - then fade. End of album.
Retrospective.
I think that Guitar would have been a much more successful release had it
been a single CD of the highlights of the current set - there are a few
suspect tracks in there, but also (maybe) six or seven absolute stormers.
Take these and match them with solid support from the rest of the tracklist
and you couldn't go far wrong.
And, gosh darn, if that ain't the whole kit and caboodle. Probably the best
thing to do is listen to the CD as you read through - if you're thinking
about what you're listening to, you may appreciate it more.
Having said that, I said at the beginning that with some albums it's better
if you don't try so hard - it's up to you. That's the beauty of life -
freedom and independence.
Unless you're a snowy owl, mind. It takes SIXTEEN snowy owls to stuff a
pillow...
-jk-
Tal
>What follows only exists because I was bored. It's not the definitive
>analysis, just some things to help people out who can't get into this
album.
>Make any comments you wish - I'm off to play in the sand box.
I was ready to make those comments, so I put the cd on, started reading
along, and decided that whatever comments I would have, they add nothing to
what you wrote. One hell of an analysis, and one that I agree with for the
biggest part. Very well put, Mr.Wilkes-sir. Thanks!!!
Yours,
--Tal
_______________________
e-mail: an...@cidanka.nl
website: http://www.cidanka.nl
The Unofficial MK-BFD Website: http://www.cidanka.nl/keneally/
Lewis Saul
>analysis, just some things to help people out who can't get into this album.
>Make any comments you wish - I'm off to play in the sand box.
>
Bravo, Tony! Finally -- a post worth archiving...
Can't wait to actually read this later tonight...
Lewis Saul
The Frank Zappa Musical Resource Institute
http://www.mypages.com/lsaul
ls...@azstarnet.com
"...as we swirl through the Eternal Darkness on a useless
little rock with some cheap furniture on it..." -- FZ (Them or Us, p. 191)
NI...@sword.edg
>>analysis, just some things to help people out who can't get into this album.
>>Make any comments you wish - I'm off to play in the sand box.
>>
>
>
>
>Can't wait to actually read this later tonight...
>
>Lewis Saul
>The Frank Zappa Musical Resource Institute
>http://www.mypages.com/lsaul
>ls...@azstarnet.com
>"...as we swirl through the Eternal Darkness on a useless
>little rock with some cheap furniture on it..." -- FZ (Them or Us, p. 191)
>
>
>
thats at least his 2nd article worth framing
he has a way with words for a brit
and hey how about all those wonderful midi hes brought us
Uncle Remus
>
>*Are there any words with FIVE vowels in a... oh nevermind.
adieu is five letters with 1 consonant and no repeats.
By the way, Nice Post!
I love Guitar!
--Uncle Remus
d...@SPAMBLOCKERapk.net
Mike & Beth Bitts
>Special mention goes to Thunes bass playing; listening out for this brings
>an extra dimension to most of the tracks on this album. He's pretty much
the
>one responsible for shaping the solo. Check it out from 1:13 onwards -
lines
>like this really make the solo come alive;
You am entirely too correct! Scott's ability to get inside FZ's head
during the solos is amazing (FZ himself said as much). He was truly the
'secret weapon' of the 80's bands.
Another great example of Thunes 'solo shaping' would be on Penguin in
Bondage from DHBIM. Really crazy stuff.
>And are those harmonics at
>2:50 from the guitar or the bass? Who can tell???
That would be Mr. Tuna.
James Diesel
Purple Lagoon 12/28/76......This is the real deal
Mike & Beth Bitts wrote:
> >Special mention goes to Thunes bass playing; listening out for this brings
> >an extra dimension to most of the tracks on this album. He's pretty much
> the
> >one responsible for shaping the solo. Check it out from 1:13 onwards -
> lines
> >like this really make the solo come alive;
>
> You am entirely too correct! Scott's ability to get inside FZ's head
> during the solos is amazing (FZ himself said as much). He was truly the
> 'secret weapon' of the 80's bands.
>
> Another great example of Thunes 'solo shaping' would be on Penguin in
> Bondage from DHBIM. Really crazy stuff.
>
> >And are those harmonics at
> >2:50 from the guitar or the bass? Who can tell???
>
Dennis Versteeg
[a whole bunch of great stuff]
Thanks for this post. It made me play 'guitar' for the first time in
over a year and I must say I appreciate it a whole lot more!
dennis