Pryti is thrilled to share her new single “Archive”, complete with an accompanying music video, out today via Welcome To Pariahville records. The British Indian singer, rock artist and multi-instrumentalist hails from the home of metal, Birmingham, UK, and the new song follows the recently released single “Warning Sign” which was featured on Kerrang radio […]
In 2021, CHAI made their Sub Pop debut with WINK, securing their position as “a professional purveyor of whimsy” (The New York Times). Tonight, Friday, July 8th (at 8 pm PT/ 11 pm ET) they are sharing the animated, 16-bit official video for “HERO JOURNEY,” their new single and collaboration with Domino Recording Company act Superorganism. […]
Whitesnake’s self-titled cd is a peak of ’80s hard rock, instantly making them one of the most significant rock bands of the era. It was a separation from their previous six cds as a result of significant schedule modifications. Both original guitar players, Micky Moody and Bernie Marsden, had actually left the band and opened the doors for former Thin Lizzy guitarist John Sykes to join. Sykes’ impact, which began on the 1984 release, Slide It In, moved the band away from its British blues-rock audio towards the extra popular American glam-rock vibe. Allow’s have a look at the band’s design throughout the Moody/Marsden period which is commonly overshadowed by 1987’s extraordinary success.After leaving Deep Purple
in 1976, David Coverdale at some point formed his own band with guitar duo Moody as well as Marsden. Throughout the very early ’80s he additionally had previous Purple colleagues Ian Paice and also Jon Lord in the mix. While Whitesnake plainly stuck to the exact same genre as Deep Purple, as well as some tracks are evocative that legendary band, Whitesnake have their own identifiable design thanks to Moody and also Marsden’s ariose guitar work. The pentatonic-based power chord riffs that were normal for ’70s blues rock, Whitesnake included a whole lot of balanced melodies that appear influenced by Thin Lizzy.Even though their audio changed somewhat on every cd, it’s constantly been secured by traditional Marshall
tones. If you do not have a Marshall-style amp, I would certainly look into pedals like the Friedman BE-OD, Wampler Plexi-Drive, Bogner La Grange, or numerous others. Aim for a more vintage-style tone as opposed to a hot-rodded sound.Let’s start with Ex. 1, which is a straightforward power chord riff in A minor. Keep in mind exactly how there is some harmonic movement within
the riff. The syncopated slide right into the tonic is very common. Likewise, it’s great to alternative between the two double-stops over the root in action 2. Whitesnake utilized it a lot yet is additionally famously understood from Ram Jam’s hit”Black Betty.” Ex. 2 is a single-note riff like the ones you can hear in tracks like “Medicine Man” from Whitesnake’s Lovehunter cd or “Fool for Your Loving” from Ready an’ Willing.
Medicine Man It’s in G minor and uses the faithful G blues scale (G– Bb– C– Db– D– F). The primary motif repeats 3 times prior to ending with some colorful method notes for the turnaround. Those little colorful notes at the end really add a bluesy feeling to this riff. I incorporated one more very “Whitesnake” concept by relocating the riff as much as C (the IV chord) prior to playing one more two steps of on the tonic. I after that ended on a huge open-string G power chord.
Ex lover. 3 copies a carolers that might be found on a track like “Lonely Days, Lonely Nights.” Whitesnake usually utilized significant and also minor chords as opposed to power chords in the chorus to highlight the melody. This development is in the key of E and includes the IIm and also b7 chords, which were really common in rock music of this period. Take a look at Danzig’s “Mother” or Van Halen’s “Ain’t Talking ‘Bout Love” for more examples.
Whitesnake -Lonely Days, Lonely Nights Ex. 4 is a little bit of a solo area over the exact same progression in A small. While sticking mainly to pentatonic product, Moody and also Marsden also incorporate the 9 and also target it before solving it to the 3. You can find the 9 as an ariose passing note in the first procedure as well as in procedure 3 where I hold the G while it becomes the 9 over the F major chord. I solve it to the A in the final step.
Ex-spouse. 5 is an additional riff that features a dual-guitar assault, again in octaves. Moody and Marsden would frequently do this with their trademark riffs. The top octave includes an extra ariose touch to an otherwise simple single-note riff.
Since harmonizing in thirds was so usual, Whitesnake additionally incorporated them right into a few of their melody lines. In Ex lover. 6 the harmony is a third below the real tonic line giving it the a lot more vibrant taste of a sixth from a harmonic perspective. A really Whitesnake-y audio. Keep in mind how the last note moves in a various direction developing a little bit much more harmonic movement.
For Ex-spouse. 7 we’ll take a look at one of minority shred lines you would certainly come across in Whitesnake’s earlier job. I shamelessly took it from the “Medicine Man” solo and also altered the end a little, merely due to the fact that these slightly shreddy minutes were extremely unusual in Whitesnake’s songs at that time. It’s a basic pentatonic line in G # minor that blends a couple of various communities. You can pick it or play it with pull-offs and hammer-ons. It’s simply to develop a bit of stress at the end of the solo.
Hopefully, hereafter lesson you will feel inspired to return and take a look at Whitesnake’s early catalog. They were a woefully underrated rock band throughout that time as well as many thanks to Moody as well as Marsden, the blues-based, acid rock sound will certainly proceed long after the band itself.
Simply like the Terraform that came prior to it, the Metaverse is a sophisticated, feature-packed design that permits you to browse the hold-up world without endless menus on a little screen. Brian was always pulling out an old Memory Man Delay to influence performative, improvisational hold-up expressions. FTE – Wampler ‘Faux Tape Echo’This is one
of our most prominent delay pedals as well as for excellent reason. A whole lot of tape emulation hold-ups simply include carolers to an existing electronic hold-up circuit. The Ethereal is Wampler’s well-known ‘all-in-one’ digital delay and also reverb pedal.
Unstoppable singer-songwriter/producer KILLBOY has shared her new single, “LOSER,” available now via Atlantic Records at all DSPs and streaming services HERE. Produced by John Feldmann (Avril Lavigne, blink-182), the track is joined by an official lyric video HERE. “Loser” follows KILLBOY’s recently released label debut single, “DADDY ISSUES,” available for streaming and download HERE. Hailed […]
I know, I know…. This can be confusing and even controversial. Basses look a lot like guitars, and so many people call the instrument I play the “bass guitar.” From this name, one might deduce that, like the bass flute, a bass guitar is merely a member of the guitar family which sounds lower. I will concede that the guitar and bass might seem similar and even appear to have a common ancestor, but appearances can be deceiving. These two instruments are separate and come from very different lineages. The ancestor of the electric bass is actually the double bass or upright bass, which hails back to the Renaissance, belonging to the violone family (along with the viola da gamba). On the other hand, the modern guitar’s ancestors range from the oud to Spanish instruments such as the guitarra latina and vihuela.
Upright and electric basses do typically feature four strings in the same tuning. Because they share the same note names as the first four strings of the guitar, some might see this as evidence that they are, indeed, related. Our modern guitar tuning was probably derived to accommodate chordal playing. This is why the second string interrupts the pattern of fourths with a third, which makes a whole host of chords possible and simpler to strum across all the strings at once.
To make matters more complicated, Leo Fender is sometimes mistakenly credited with the invention of the electric bass. In 1951, Leo modified his solidbody Telecaster guitar design to create the Precision Bass, so called because the frets allowed for precise intonation while playing. Later, Leo borrowed his offset body design from the Jazzmaster to create the Fender Jazz Bass. Both the Precision and Jazz basses became extremely popular and most modern electric bass designs are in some way based on them. By utilizing standardized patterns for most of his guitars and basses, Fender mastered the art of assembly-line mass production, which helped us all to see the electric bass as a type of guitar, due to the obvious similarities.
The ancestor of the electric bass is actually the double bass or upright bass, which hails back to the Renaissance, belonging to the violone family (along with the viola da gamba).
However, the first known electric bass ever made was the Audiovox Bass Fiddle, created by Paul Tutmarc in the mid 1930s. With the help of two new inventions, the amplifier and magnetic pickup, Tutmarc created the world’s first truly portable bass. While acoustic bass instruments had to be large to reproduce the extremely low fundamentals required, electric instruments changed all of that. Now, a relatively small 18-watt portable package could produce the lowest fundamentals, which had only been possible with instruments such as tubas, pipe organs, huge double basses, and 9′ grand pianos. Tutmarc’s first attempt was a small solidbody upright, but he soon realized that he could build an even more compact bass that could be played horizontally.
Many bass players who would eventually play electric basses exclusively began as upright players, continuing a long tradition that predated the invention of the electric bass by at least two centuries. From my perspective, I come out of a long lineage which began with great upright players like Jymie Merritt and James Jamerson, who switched to the electric bass in the late ’50s, mostly out of convenience. These new smaller and louder instruments were game changing because they allowed constantly touring musicians to hold down a bass role in a more transportable package.
At first, bassists transferred what they were already playing on the upright to electric. But over time, they developed new voices, techniques and approaches specifically tailored to the physical characteristics, sonorities, and capabilities of this instrument. By the time we get to Bootsy Collins, Tony Levin, Louis Johnson, Larry Graham, Jaco Pastorius, Anthony Jackson, Jeff Berlin, Mark King, Marcus Miller, Rich Brown, Victor Wooten, and so many others, there are bassists who play the electric bass exclusively, and who have developed their own astounding techniques for doing so.
The bass has spent over six decades at the forefront of cutting-edge genres from soul to R&B, country, rock, funk, disco, jazz, and fusion. Today, there are countless virtuoso bassists who have never played the guitar or upright bass and have no desire to. The bass is not a guitar or even an upright bass substitute. And it is no longer a thing played out of convenience, but an independent instrument with its own sound and rich lineage.
Sarah Louise is a musician as well as singer-songwriter from Essex whose aim is to compose and do music that her target market can relate to, giving comfort, fun, joy and also joy! With a melodic, soft-toned, folky and also soulful voice, producing songs that represents her love for country music – – meaningful lyrics, remarkable tunes and delicate consistencies. Sarah […]
Introducing Canadian-born, Brooklyn-based indie dream/pop musician Jenny Kern. With a magnetic vocal style and emotively puncturing lyricism, Kern’s music has actually been accumulating a lot of interest around the globe. Having originally begun as a Page at NBC, Kern then went on to benefit acclaimed filmmakers Noah Baumbach and also Greta Gerwig, prior to at some point becoming a manufacturer in the movie and […]
Canadian-born, Brooklyn-based fanciful pop artist Jenny Kern has actually simply gone down new solitary “I Should Lose You”. Presenting Canadian-born, Brooklyn-based indie dream/pop musician Jenny Kern. With features on MTV, ABC and also the CW, Kern has found herself linking with significant market manufacturers and also writers. Recent months have actually additionally seen Kern’s music positioned on a number of Spotify editorial playlists consisting of Fresh Finds, Indie All-Stars and New Music Friday which jointly have over a million followers.
Los Angeles, CA | July 2022 – This year Gritty In Pink will be making their means to Ventura, CA for the Surf Rodeo Music & Surf Festival on July 15-17 on the Ventura Pier! After years of delay because of the pandemic, the much-anticipated fest is finally taking place once more. The weekend celebration will include [
…] The article GRITTY IN PINK IS MAKING ITS WAVE TO SURF RODEO FEST Appeared on Guitar Girl Magazine. The article GRITTY IN PINK IS MAKING ITS WAVE TO SURF RODEO FEST showed up initially on Guitar Girl Magazine.
July 2022– This year Gritty In Pink will certainly be making their way to Ventura, CA for the Surf Rodeo Music & Surf Festival on July 15-17 on the Ventura Pier! The weekend festival will feature a Gritty In Pink Stage on July 16/17, partnering with the brand-new collective of women musicians built by the creators of the Warped Tour Shiragirl Stage, which graced Ventura for lots of summers.
Founder owner Gritty In Pink and as well as vocalist Shiragirl, Shira Yevin saysStates” We are so excited thrilled return to the beaches of Ventura for the long-awaited Surf Rodeo 2022 festivalCelebration Gritty In Pink phase is pleased to companion with brands such as Pacifica Beauty, La Par, Audix, and also Remo to support this event.
About two years ago, after finishing his third consecutive Grammy-winner (2020’s Have You Lost Your Mind Yet?), Xavier Dphrepaulezz—aka Fantastic Negrito—did some research on Ancestry.com. As with many of the site’s patrons, the results blew his mind.
“I was like, ‘Holy shit!” he says. “I didn’t know I was a seventh-generation descendent of a white Scottish indentured servant and a Black enslaved person. 1700s? How did they do that? How did they live? No one killed them?’”
On his mother’s side, his ancestor was a woman from Scotland sold to work in 1750s colonial Virginia. She lived, somehow, in a common-law marriage with her enslaved Black husband. For Fantastic Negrito, that discovery was transformative. “I felt like my ancestors were tapping me, like, ‘Hey man, we’ve got this amazing story. We’re not on the left. We’re not on the right. We’re not entrenched in some ideology. We’re just two people from the opposite sides of the spectrum who found love together at a time when that was impossible.’ I am the result of that, seven generations later. I didn’t know who I was, but I guess I am exactly who I need to be.”
Fantastic Negrito – White Jesus Black Problems (Full Film)
On record, Fantastic Negrito’s main guitar foil is Japan’s Masa Kohama. When Kohama auditioned for the band, he could barely speak English and Fantastic Negrito was skeptical. He thought, “‘This is going to be quick. Let’s audition.’ And he blew me away. I was like, ‘Wow, maybe I was being prejudiced?’”
That story and the accompanying awe that sprang from unearthing his roots permeate his latest release, White Jesus Black Problems. But it’s not just an audio album—it’s a visual work of art that combines many of the songs’ videos into a seamless, Broadway-like production that’s essentially a companion film for the 12-song record. Both are a rich, high-energy explorations of identity, race, love, determination, freedom, and history.
But there’s another level to Fantastic Negrito’s artistry—something he wrestles with, ironically, because of his fabulous success. Winning a Best Contemporary Blues Album Grammy for each of his last three albums left him with a conundrum: Should he give fans what they expect or forge ahead with his constantly evolving musical vision, wherever that may lead?
“I always start by myself. I have an $89 Rogue bass—it’s like an old violin bass. I start out on that a lot of times.”
He chose the latter. “I am going to answer to the music,” he says. “You can’t win three Grammys in a row and then not push to make something that’s outside the box, something that’s brave, outrageous, bombastic. It was like my grandparent’s story. That story’s real, and that meant the album had to be out there—as far as I could push—because my grandparents are obviously out there. You have to push the boundaries of your creativity and challenge yourself sonically, and that’s what’s exciting about this album: It’s how uncomfortable it is. The artists that I loved were always the ones that were a little uncomfortable. You hear the record and think, ‘Is it okay that this is happening?’ I always strive for that.”
White Jesus Black Problems oozes catchy melodies and is eminently singable, although it’s anything but conventional. It starts with “Venomous Dogma,” which eschews the standard verse/chorus formula and feels almost through-composed, morphing trippy psychedelia into a heavy, riff-centric romp.
“That song was fun,” Fantastic Negrito says. “I wrote that and thought, ‘My grandmother must have been a little girl in Scotland when, one day, boom, now you’re an indentured servant for seven years. What the hell?’ The tumultuous energy in that song—complete bliss turning to complete hardship, which must have been the same for my grandfather—I wanted to tell that story and capture that energy. It was very cathartic and that’s why it does what it does.”
Other songs on the album, like the funky “Highest Bidder,” or “Trudoo,” which owes something to classic P-Funk (or maybe Prince), go in a very different direction. The same is true for the doo-wop feel of “Nibbadip” and the ’70s-era riffage of “Oh Betty” and “Man with No Name.” Yet White Jesus Black Problems feels cohesive because its story has twists and turns of the sort we encounter in real life.
“With me, it’s completely organic,” he says. “A song could start out with a beat that I clap, or a groove, or a poem, or with a guitar or piano or bass. I have no routine. The routine is to let the song write itself, let it happen. Tune into this channel—this frequency of the universe—and let it happen. Maybe most of it’s not great, but 10 percent of it may be pretty good, and that’s when you tell the story.
“One of the most important things to me as an artist or songwriter, regardless of genre—roots, Americana, the blues, whatever—is the stories the songs are telling. That’s it. Really. That gets lost, the stories, but it’s about the stories. People needed those stories to keep making it through the generations, whether it was bondage, Jim Crow, segregation—they needed the story, the music was the medicine. There’s a reason why African-Americans created all this music—all these genres for the whole world to enjoy: They had to survive some of the most challenging situations in this country, and the music has all that feeling because people were trying to save themselves.”
“I can’t paint these pictures without these other musicians. They have completely different tastes than I do, too, which is good.”
Part of keeping it organic is making sure he’s always prepared for when the muse strikes. Fantastic sleeps with an Epiphone Masterbilt acoustic-electric next to his bed and always has an iPhone on hand to record ideas when they hit. “I am full of ideas,” he says. “I wake up in the middle of the night—I live on a farm—you walk out and clean out the chicken coop and then, ‘Oh no! I got something!’ I always have my guitar. That Epiphone is a good friend. It’s fed me and my tribe.”
When he gets to the studio, he scrolls through the audio files on his phone, picks out the gems, and presses record. “I always start by myself,” he says. “I have an $89 Rogue bass—it’s like an old violin bass [the instrument makes an appearance in the video for “Venomous Dogma”]. I start out on that a lot of times. I start tracking, lay down everything, and then I get the boys in, because I am really a songwriter first.”
But he’s also an arranger with a keen ear for orchestration and interwoven parts. Layers of guitars—and an occasional Minimoog—weave their way in and out of the various songs off White Jesus Black Problems. And once a song starts taking shape, his artistic vision is crystal clear. “That’s what makes the records go fast and easy,” he says. “But I can’t paint these pictures without these other musicians. Their contribution is massive and I give full credit to them, always. They have completely different tastes than I do, too, which is good.”
Fantastic Negrito’s Gear
Guitars
Epiphone Masterbilt Zenith acoustic-electric
Gibson Les Paul Signature semi-hollow goldtop
Chapman ML3 Pro Traditional
Gibson Hummingbird
ESP 400 Series T-style
Strings
DR Strings .009 sets
Amps
Orange TremLord 30 combo
Effects
EarthQuaker Devices Sea Machine V3 Chorus
EarthQuaker Devices Park Fuzz Sound
Masa Kohama plays lead guitar on almost every track on the album, while he and Fantastic cover rhythm-guitar chores together. They’ve been a guitar team for almost 25 years, since a young Xavier Dphrepaulezz first signed to Interscope Records (as simply Xavier) for his ill-fated first outing with a major label, 1996’s The X Factor.“
I was looking for a guitar player who could play all the different styles that I play and, boom, here comes this Japanese guy who can barely speak English,” he remembers. “I thought, ‘This is going to be quick. Let’s audition.’ But he blew me away. I was like, ‘Wow, maybe I was being prejudiced?’ I didn’t expect that from him. He’s such a great player, and I’ve never made a record without him.”
The pair gets together to write and bounce ideas off one another in the same room at least once a year—Kohama is still based in Japan—and they share files across continents the rest of the time. But after so long, their natural synergistic relationship is at a point where they know what to expect. “We can read each other’s minds. Absolutely. He knows and I know, and that’s how it goes.”
Kohama doesn’t tour with Fantastic, though. That job is filled by Tomas Salcedo, who’s been on the road with the group for years. He’s also the guitarist you see in most of the live clips and videos. He makes an appearance on White Jesus Black Problems, too.
“I always let Tomas get on the records, and he brings something different than Masa,” Fantastic Negrito says. “He’s on the song ‘Virginia Soil,’ and I needed him on that song because he does less a lot, and that’s amazing. That song is empty, open, beautiful, and a lot of it is breathing.”
Fantastic’s affinity for “less” applies to his tonal approach, as well. He primarily uses just a guitar, an amp, and mics. Pedals are not a big part of his sound—although he does have two EarthQuaker Devices units, a Sea Machine V3 Chorus and a Park Fuzz Sound, that sit on his mixing console for use in post-production. But for the most part, he records guitars clean.
“I tell Masa to play completely dry. No effects. I say, ‘Even play direct if you have to,’ because then you can reamp it. Or you can use board distortion. I love that—where you’re just pushing it from the board. I’ll use the mics that are in the piano to catch part of the guitar. I love reamping. You can be more creative and get more interesting sounds.”
But, again, those great sounds, those recording techniques, and that gear are just tools for conveying the all-important stories, whether they’re about reaching majestic heights or sinking to painful lows—like the debilitating car accident that put Fantastic in a coma for three weeks and cost him both his first record deal and much of the use of his right hand. That he rekindled his will, stormed back from career death, and can still lay down an infectious guitar groove makes him a bona fide inspiration. Perhaps it’s because he never ceases lookingfor inspiration from something he feels was always embedded within him.
“I hate to keep talking about my seventh-generation grandparents, but it’s from them,” he says. “You find a way. The most challenging situation, the most insurmountable odds were against me to play again, but I found a way. I figured out all this came from these people—these incredible people who lived in the 1700s. I feel there’s something about DNA and blood, and I always had this attitude that no matter what, we can do it. And that’s from them.”
Fantastic Negrito performs a short acoustic set and talks about the family history behind White Jesus Black Problems at South by Southwest 2022. Note the technique he has developed with his accident-damaged picking hand, which he calls “the claw.”
