Slapping, Finger Dexterity And Sonic Epiphanies

 

image by www.lastfm.com

 

Andy Mckee  “The Art of Motion”

A Few years back(the 80′s) was a different time for me. I had just expanded my knowledge of great guitar players. I took pride in keeping “in the know” by sifting through the various trade magazines and learning rags.  I was discovering different players than the years before. Previously, it was pretty much all Eddie Van Halen, Joe Satriani(I still love him and am influenced by him in small ways) and Yngwie Malmsteen. I used to be a lot more closed-minded about my music. I even once said ” If it ain’t Eddie it’s crap”. I had been totally hooked on that “Brown Sound” of Eddie’s. That all changed one day in Anaheim.

About the mid 80′s I was at the NAMM show in Anaheim and passing through the booths, wading his way through the crowd, Joe Satriani was sporting his big hair and leather jacket talking to a couple of people. His EP called “Not of this earth” had just released and here was Guitar God Satriani sharing tips, tricks and anecdotes with everyday folks. I was floored by his unassuming manner, friendly demeanor and patience as his fans kept asking the same question posed several different ways. When it was my turn to speak to Mr. Satriani, I wiped my sweaty hands on my acid washed jeans and began to pose some questions to him. I asked him: “What advice would you give a fledgling musician like myself?” My next question was: “Who are you listening to right now ?” Joe then began to tell me about Phil Keaggy. I put that suggestion in the memory bank and filed it away for quite a long time until Keaggy’s record ” Beyond Nature” exploded on to the guitar instrumental scene and changed how an acoustic guitar could be recorded with looping and unreal orchestration.

 

So, I put down the Van Halen for a while and began a love affair with acoustic instrumental music. Here’s  a secret about me: Acoustic guitar playing, especially fingerstyle, is the weakest part of my guitar musicianship. Naturally then, I really respect its composition and delivery. After totally falling in love with Keaggy’s genius, I moved towards players like: Leo Kottke, Laurence Juber and Don Ross. It was Mr. Ross who led me to finally find Andy Mckee. I was enamored of Don Ross’ jazz like leading lines and heartfelt note selection. After wearing out Ross’ CD “Passion Session”, I was looking for more like-minded soloing. Then Ross did a duet album with Andy Mckee which lead me to YouTube vids and then back to his latest solo album of the time: “The Art of Motion”.

 

My stubby fingers hit play on my super system. I sat on my fine pleather couch with a tall mug of Caribou Coffee, my worn out copy of “Til we have faces” and closed my eyes to the weary day. As I settled in for my “Me Time”, I kept hearing this fantastic rhythmic slap with his right or strumming hand. It just pounded the strings in a way that made me forget about a drummer and focus on the tension building in the song. I have not heard too many players that can mix that right hand slap with a delicious spread of hammer ons, good old-fashioned fingerstyle and etherial song composition. Andy is a virtuoso, and I don’t throw that term out there loosely. Let’s get into the album and its tracks. Here is the list of songs in order:

 

Andy Mckee- The Art of Motion

1. The Art of Motion
2. When She Cries
3. Drifting
4. For My Father
5. Practice Is Perfect
6. Shanghai
7. Into The Ocean
8. Nocturne
9. Heather’s Song
10. Seamus’ Stardrive
11. Keys to the Hovercar
12. Rylynn

 

The first/title track bangs out that powerful right hand slap right at the beginning then slows down and lowers the dynamic with some beautiful open chords in a great alternative tuning.  I can’t get over Andy’s control of his dynamics; loud, soft, speed runs and rarely matched finger dexterity is always present in every song on “The Art of Motion”.  The third entry, “Drifting” is another fine example of McKee’s rhythmic genius. The album is crammed to bursting with songs that emote so much beauty, I am moved to “feel” something or inspired to write something of the same caliber. “For my father” is tune that seems to dance in and out of the light like a shadow chasing the sun. My favorite track on the album by far is : “Into the Ocean”. When I listen to that track my skin begins to tingle and my mind goes to the Inside Passage while Killer Whales breach the surface of the water pushing the pod further and further into the deep. “Nocturne” is very Keaggy-esq. It has a lot of ethereal counterpoint and exclamated harmonic slaps it reminds me of Keaggy’s album ” Acoustic Sketches”. The final track on the CD is “Rylynn”.  The guitar tone is so unbelievably fantastic I would step over 2 babies to get it(lol). The adroit  finger slides in “Rylynn” are so gentle and lead to a complete forming of the melody line. I am not going to review every song on the album; I don’t do that. My hope is you will preview the work yourself and not be swayed too much by my opinion.  It is always my point to direct folks to where fine music is being played.

 

If you like to “Chillax”, as the kids say, then Andy Mckee’s “The Art of Motion” should be shared with a lover or maybe you should put on your audiophile headphones with a glass of Chianti from the Sangiovese di Romangna region while clutching a leather bound first additon of “The Last Days Of Pompeii”. This album simply speaks straight to my heart. The compositions are fresh and the delivery is flawless. If you are an acoustic instrumental disciple, “The Art of Motion” is a must for your collection.

Sip your wine slow, enjoy the view and most of all, take the time to listen.

 

Overthehill Chris

 

 

If I got a 3rd Job I could pay off that PRS DC3 in only 46 payments

The Rage Has Released !

It has been brewing for some time now. The pressure has finally reached its limit and , like a zit that has finally popped after multiple attempts to discharge, releases its flow into the void. I just can’t take it anymore. Listen up mindless drones: When you are at Guitar Center; tune first, THEN play.

Last Saturday I fired up the Over The Hill Cruiser and headed down to my nirvana of instrument excellence: Guitar Center. I am totally enamoured of this institute of higher purchases and unlimited axe grinding. I have been going to GC for many years and have made visits to Dallas, Twin Cities, San Marcos, Hollywood and many other locations throughout my now accelerating years. GC’s policy of “Grab a Six string and let her rip” has definitely swayed me toward many fine purchases I might not have normally made. I mean where can you play a  5 grand PRS and a 99 dollar squire in the same place without an annoying salesman yelling out “Try It Here, Buy It Here, But Practice At Home” from behind the counter. Alright Back to the rage.

My hand pulled the door handle maybe 3 inches open and BAM, right smack dab in the frontal lobe, a cacophony of dropped D tuning, a gaggle of post 80′s metal heads and a gathering of  beer gut Classic Rockers are pounding the worst versions of Good Times, Bad Times with no respect to  the classic and most of all: timing and tuning. Alright, I know my doctor wanted me to calm down a little bit, but the rage was halfway to release only after a 3 inch door pull. Yeah, I know we are all busy but, TUNE FIRST then murder Zepp’s classic. Now, in a perfect world, whenever we walk into our favorite music store, the doors would whoosh open, wind would blow back your hair and the beautiful Megan Fox would hand me a 10 top PRS already tuned and ready to accept my fury. But, unfortunately we live in a world where we must accept some version of reality.

First off, Old Timers and youngsters alike, it is generally not good for your “Ear” or pitch to constantly hear an out of tune instrument. Ear training can’t be achieved if the instrument isn’t tuned to A440 and you definitely do not want to train your ear to anything else. Believe it or not, when you don’t tune your guitar every time you pick it up, you are doing great disservice to your over all musicianship and any hope of near perfect pitch. If you want to someday be able to listen to the radio and suddenly say ” I love that quick transition to the flat 9th chord”, you absolutely cannot begin with a foundation of confusion and tonal anarchy.

Secondly, remember some people in the store are really trying to make a purchase and, possibly a lifetime one as well. They can’t do that with their ear right next to the amp, with one finger plugging the ear next to the wingnut slamming “Down with the sickness” with no clue of what a chromatic tuner is. Hey folks, it is a big world out there and we ALL have to share it. Have some darn consideration for others….tune the guitar….turn the amp down a little…turn the volume down on your guitar if the guy next to you is trying to tune and most of all: have respect for the axe you are playing.

Rage really starts to well up when some bone head plugs a dropped D tuned guitar into a full stack 100 watt tube amp and cranks the heck out of it right next to some poor guy hunched over an amp trying to do the right thing and tune up first. I mean, I am sure you think the impromptu Staples Center arena jam is awesome on 11, BUT, it is freaking rude and disrespectfull to the 6 poor souls playing lower powered amps and making a decision on a purchase. Also, the sales staff or owner would not appreciate you blowing out a tube on a 2,5oo dollar amp head you had no intention of buying anyway.

Lastly, one way to keep the rage to a low murmur and firmly holster our Glock’s is to respect the dang store you are in. I never want to see GC change their “Hands On” policy just because some chuckle-head didn’t take off his studded leather jacket and scratched the maple top of a Les Paul Custom. OK, now that the rage has run its course a little, let me tell you how my local Guitar Center views little Ole Over The Hill Chris. They love it when I come in for a few reasons:

I politely ask to see a guitar (especially a high dollar one).

I take off my coat or ANYTHING that could even lightly mark an instrument

I ask for a tuner

I pick a good quality amp, sit down and adjust knobs at bedroom levels

When the salesman comes back to check on me, I let him know I am just checking out the  instrument and generally give them an idea if I am here  today to purchase or satisfy my curiosity and kill time.

I DON’T play my favorite covers. I DO play some tasteful soloing or I will improv over the in house music. I get a lot of compliments on my playing there because I am not there to regurgitate some licks that those poor sales staff have to hear hundreds of times a day. They definitely appreciate that.

Finally, when I am done, I grab the cable, the guitar, find the salesman that I talked to and THANK HIM.

Folks, in this out of control world, let us all do our part to keep the rage to a minimum

Over The Hill Guitar

“You wanna get Lucky”?

Lucky……… Peterson that is.

Good Day, Gear heads, Guitarists, Poets, Songwriters and Music devotees

It is time to pay an “Homage to the Master”. After searching through my musical library,my, fortress of solitude if you will,  I picked a master  blues man who finally  has the “odds” in his favor. I mean it’s right there in his name for gosh sake.  A lot of people I talk to don’t know who Lucky is. This defies logic to me because: He is  a clever songwriter, a fiery guitar player and better keyboard player than most top acts have touring with them.  Topping all that, he has a buttery smooth tenor with a timbre somewhere in between the baby making vocals of Barry White and the powerful knee buckling roar of Albert King. To say that Lucky Peterson is talented; is a massive understatement. Only a select few musicians are proficient at 2 or more instruments and as the old saying goes: “You can’t serve two masters”.

People who comment on my talent sum it up by saying: “You are a decent guitar player; but, a naturally gifted singer/songwriter. I usually don’t have to struggle with that part of my musicianship; it just seems to flow(hope I didn’t just Jinx myself here).  So, for once, I have found someone whose name is not a misnomer. He really is: “Lucky”. Most of us recreational musicians rarely have the “gift” for multiple axes. Heck,   some of us even make “Deals at the crossroads” for just one instrument. I think the “man downstairs” has a  policy of: “One instrument, one soul….two instruments, two souls”. In other words, if you want to have dual virtuosity, you’re going to need to bring a friend.

In his recordings you immediately notice both of  his passions for guitar and keyboards alike. When Lucky begins the tickling of the ivories , it instantly brings up a comparison to Pine Top Perkins. He can play punchy and honky-tonk or he can gently massage the Hammond B3 with the touch of a skilled masseuse. Mr. Peterson’s guitar prowess runs the gamut of the Chicago styled slow blues of “When the blood runs cold” on the Double Dealin’ album, to the statement making instrumental “Beyond Cool” on the album of the same name. Never being to serious, his playful lyrics of “It ain’t safe”, also on Double Dealin’, are clever,  engaging and funny as heck. Lucky is a blues lightning rod and anyone with a penchant for Soul/R&B  will love him as well.

Here is a condensed Bio:

Lucky Peterson was a child prodigy who recorded with Willie Dixon at age 6 on the cut”1,2,3,4″. He was born in to a musical family and his father owned a club called ”The Governor’s Inn” in Buffalo,NY where he witnessed many great acts such as Jimmy Reed and Muddy Waters. Lucky started out playing organ. Then, at a mature age of 8, he started playing guitar; making it a dual affair. Some of his accomplishments include: appearances on the Ed Sullivan show and The Tonight Show,  At age 17 Peterson signed on for a stint with Little Milton,  spending 3 years of his life on tour with Bobby ” Blue” Bland, performing session work with blues legends Etta James, Otis Rush and Kenny Neal. Then, finally recording his first Solo album in 1992

Discography:

• 1969 Our Future: 5 Year Old Lucky Peterson Today Records
• 1984 Ridin’Evidence Records
• 1989 Lucky Strikes!Alligator Records
• 1990 Triple Play Alligator Records
• 1992 I’m ReadyVerve Records
• 1993 Beyond Cool Verve Records
• 1995 Lifetime Verve Records
• 1998 Move Verve Records
• 1999 Lucky PetersonBlue Thumb Records
• 2001 Double Dealin’ Blue Thumb Records - Grammy Award nominee, produced by John Porter
• 2003 Black Midnight Sun Dreyfus Records
• 2010 You Can Always Turn Around Dreyfus Records
• 2010 Heart of Pain JSP Records

Lucky’s best album, in my humble opinion, is Double Dealin; which received great acclaim and was nominated for a Grammy. His songwriting alone is worth the purchase. Also, I love his newest effort entitled Heart of Pain. It has all the elements a blues nut would want to hear. It keeps a good balance of songs ranging between heavy hearted topics and witty quips.  When I listen to Lucky’s music, I pour a glass of Courvoisier, light a fat, obnoxiously long cigar and sit in my leather chair while songs of heartache, pain and humor waft by. That is if my kid isn’t harshing my carefully constructed mellow.

If you are looking to round out your music collection, then give Lucky Peterson a chance to ratchet up your Blues IQ.

Keep Dreaming, Keep Listening and NEVER stop learning,

Chris T.

Over The Hill Guitar

Time keeps a tickin’….but are you in time?

Howdy Gear Heads!,
Do you have trouble staying on pace with the drummer in your band? Do “Swing Eighths” and “Triplets” get you down? Are people complaining that “Your guitar is way out of tune dude”? Well, the fine folks at Boss U.S., makers of the famed “Blues Driver” pedal and many other classics, have got your remedy: The Boss Tuner/Metronome TU-80 .

 

I have been using metronomes and tuners since the 80′s(I know, I’m old). Their use for your musical development; I can’t stress enough. Six months back, the old click track style metronome I had been using since the time of Duran Duran, had, without warning, finally died .  I mourned that stalworth friend. After moping around the house with my head hung low, my household goddess(the wife), secretly purchased one for me. Now, as most of you musicians out there know, when a non-musican significant other purchases gear for their loved one, it can have disastrous ramifications. “Did they get a portable metronome( not the old piano-top cumbersome beast)”? “Does is count in a gallop or swing eighths”? A must for metal heads and blues players. “Did you keep the receipt”? These are some of the questions a gear head will quickly babble when they are surprised by your better half with an impromptu gift. Now, now,  you can’t blame them; they love us. Their hearts are in the right place. But, their lack of experience buying gear, can immediately conjure up nightmares of manipulative, high pressured salesmen trying to steer your loved one to the highest priced unit with lots of unnecessary features like: a calorie counter/cappuccino machine/PDA/cell phone/ metronome. In my case: my “goddess”, a former musician,  made an informed purchase that left me shocked by the quality of the device she had given me.  Lets get into the features of the: Boss Tuner/Metronome TU-80. Boss’s website lists them as follows:

The BOSS TU-80 brings super-accurate LCD tuning to musicians at a very affordable price, while adding unique high-end features like a built-in metronome and Accu-Pitch™. The pocket-sized TU-80 runs on batteries and can tune almost any instrument, thanks to a chromatic tuning mode and ultra wide tuning range. It even tunes 7-string guitars and 6-string basses—putting the TU-80 in a class all its own.

• Affordable and reliable LCD tuner with handy, built-in metronome
• Supports chromatic tuning, plus 7-string guitars and 6-string basses
• Accu-Pitch function sounds a tone when pitch is correct
• Reference Tone Play function makes it easy to verify tuning by ear
• Memory function stores your favorite tuner settings
• Ultra-thin body fits easily into a guitar case or pocket
• Metronome has 7 rhythms, 10 beats and cool animated LCD display

The Tuner. At first glance, I am very fond of its thin-line case which feels comfortable in my hand and is contoured on the back facilitating the ability to “prop it up” with a handy insertion of a pick or coin in the designated slot. In other words, no cheap plastic arm to break off. The contrast of the black body and orange buttons make it easy to read in low light situations. Also, the tuner/metronome can be placed in your pedal chain due to the clever design of the 1/4 inch input jacks going from right to left. The casing seems sturdy.  I have dropped mine a few times with no cosmetic damage or failure to operate properly. The tuner with its LED read out in the form of a needle is quick, accurate and easy to read with proper lighting. The Accu-Pitch uses an internal mic and an electric bass or guitar can plug directly into the jack making loud murmurs or ambient noise; not a problem. The needle knows what string you are trying to tune coupled by flashing flat and sharp lights. When the string is a proper pitch the needle arrives at the middle and makes a “beep” sound to indicate you are there. Other tuning features include: the ability to tune to 440hz(or any selected hertz) and tunes down to two and a half steps for you metal chuggers as well.

The metronome. Being a mostly Blues/Classic rock guitarist, I am really in love with the aforementioned ability to count in dotted eighth notes or “swing eighths. So, I can really hone my 12 bar and swing techniques. Versatility is the TU-8o‘s forte with its 7 rhythm styles and ability to count in 2/4 time, 3/4,  time, 4/4 time and so on.  The tempo ranges from 30-250 bpm giving you speed freaks and campfire guitarists all the options you need. Intuitively, Boss gives you the function of muting the sound of the tuner/metronome for those times  when little noises are a no-no.  My favorite part of the metronome’s function are the different sounds it makes when arriving on the 1 beat. It keeps me from getting space-y or lost in the count during length scale practice or long rhythm pieces I am working on. Again, high marks for Boss’s penchant for sensing the needs of musicians and placing it in a manner that is helpful.

Reliability I have used the TU-80 for over six months, almost everyday, for hours at a time, with absolutely zero problems or glitches.  Even though I have been somewhat clumsy with it, it still withstood my fumble-fingers and still operates the same as the day I received it.

In summary: I love this little tuner/metronome! It’s portable, very accurate, has a  usable functionality, and fairly durable(now don’t go throwing it down on your driveways folks). As of today, 10/6/2010, Guitar Center has an online price point of $ 29.99 with Musician’s Friend at a slightly cheaper price of $24.99. I think that is a lot of bang for your  buck.

So, if you need a portable tuner/metronome that is affordable, reliable and packed with options Boss U.S.’s Tu-80 is a no brainer that even a non-musician significant other can purchase without hesitation for their Guitar and Bass Lovers all over the world.

Keep Practicing

Chris T.

Over The Hill Guitar

Is Woo-ing Over?

Flowers in a bunch

a poem by Chris

Flowers in a bunch

The bouquet I brought to you at lunch

Daffodils to match your hair

in hopes it would begin our collective care

From the ceramic pot I poured your tea

It steeps in a cup next to me

Showing you my wish to serve

Hoping a love would soon be deserved

Compliments flowing from my lips

Wishing to be answered with kiss

My wanting of a friend was pushed to desire

while fanning the spark to catch fire

Your gentle touch caresses the hairs on my hand

for in my pocket sits a box and its golden band

With gesture now firmly received

my pensive heart is greatly relieved

No more feel of sorrow’s punch

All because of flowers in a bunch

Latino Guitar God Goes “Loco”

3.5 Mullets

Aye Ca-rumba! Classic guitar songs get a dose of Santana’s caliente riffs.  Today I am going to review the brand new Santana album titled: Guitar Heaven: The Greatest Guitar Classics Of All Time(Deluxe Version).

My first thought when I found out this album was on the way was:” managers can talk you into anything”. One of my pet peeves are: when mainstream artists cover an Icon’s signature song or style. I have rarely seen this work out for the artist covering the song(remember Beyoncé’s  version of “At Last” at the Obama presidential inauguration where Etta James almost opened a can of whoop a**). Also, often the “New improved version” is almost never improved upon because the covering artist has nothing emotionally invested or they are just frankly  not at the same caliber as the icon. Let me digress further. How does an artist become an icon? Here’s the simplified breakdown: after many years of honing their craft. Their heartfelt investment in the song is delivered in such a way (meaning imparting their “Signature Style”) that it makes us mere mortals drawn to their particular slant of music, singing in our cars and then rushing to i-tunes to purchase a download.The icon’s craft is often so imbuing, we simply can’t tell why we like a particular song so much. Note to up and comers: Just say no to your managers when they suggest this awful idea, close the door to the woodshed and hammer out a well-crafted song that might put you on the road to ICON status. We have enough regurgitation in the music world. How about creating something you can be proud of instead. So, I cringed at first earshot of a Santana album filled with classic rock covers by many great icons the likes of : Led Zepplin, AC/DC, The Doors, Deep Purple, Van Halen and so on. But……This offering is a blessing and a curse in one.

When I review an album I do three things always:

1. I audition the CD on three sources: My Mp3 player, with high quality headphones, My home-theater system which rocks a collection of JBL speakers and a Denon receiver and my home computer or laptop.
2. I listen to the album a minimum of 3 times
3. I keep the distractions low to keep focus on the musicianship

When I study music, I study it. I first take the time to listen, allowing for my general taste in music. I let the album roll around in my head to see what sifts out. Then I say to myself “Are any of the songs catchy”? “Do I want to hear more”? ” Can I tell what direction the artist is going”? You know, get a feel for how the album is presented and is it achieving its goal? Usually, I will then listen for guitar riffs and techniques that stand out. Like: “Did you hear that rapid succession of double-stops”? “Wow, the band really stopped on a dime so the soloist could have a lot of room to noodle”. Finally, during the playback, I like to see how the music makes me feel. What kind of emotions in me does the album and it’s tracks evoke.  Let’s face it folks, if we aren’t feeling the music, What is the point? There are a lot of mechanical, robot musicians out there with a huge emphasis on how many notes they can cram in a measure. Don’t be one of them! Take your time. Slow down and feel every note. You will notice a big improvement in your phrasing and general enjoyment of music. Alright, enough of old man rambling, let’s get to the review.

Carlos Santana has been playing his brand  of music since the mid sixties and has produced such hits as: “Oye Como Va”, “Black Magic Woman”, “Europa”, “Hold On”, “Samba Pa Ti’”,”Smooth”, “Maria, Maria” and many, many more. His technique is legendary. The phrasing he provides is only rivaled by a very select few like: Larry Carlton, Joe Satriani, Eric Johnson, Albert King, BB King, SRV and Al DiMeola.  I am not going to bio him. There are many more resources for that and they’re way better at it  than I could muster anyway. I will just focus on the album and the songs it produced.

When I uploaded “Guitar Heaven: The Greatest Guitar Classics Of All Time(Deluxe Version)”, I was blown away by the quality of musicians that contributed to the effort. They run the full spectrum of experience like: the virtuoso cellist Yo-Yo Ma,the cannon powered voice of  Soundgarden/Temple Of The Dog/Audioslave and Bond contributor Chris Cornell and blues wunderkind Johnny Lang. Some of the duets are so magical, they should strongly consider touring together for a while; or permanently, what the heck. The album has a great vibe but Santana’s impeccable musicianship and song selection are the real stars. Mr. Santana’s choice of covers should be praised . He chose songs that exemplifiy his incredible ability to phrase a melody line and shows his ability to play in many styles and genres as well.

The tracks are as follows:

1. Whole Lotta Love-Santana featuring Chris Cornell
2. Can’t You Hear Me Knocking-Santana featuring Scott Weiland
3. Sunshine Of Your Love-Santana featuring Rob Thomas
4. While My Guitar Gently Weeps-Santana featuring India.Arie and Yo-Yo Ma
5. Photograph-Santana featuring Chris Daughtry
6. Back In Black-Santana featuring Nas
7. Riders On The Storm-Santana featuring Chester Bennington and Ray Manzarek
8. Smoke on the Water-Santana featuring Jacoby Shaddix
9. Dance The Night Away-Santana featuring Pat Monahan
10. Bang A Gong-Santana featuring Gavin Rossdale
11. Little Wing- Santana featuring Joe Cocker
12. I Ain’t Superstitious-Santana featuring Johnny Lang
13. Fortunate Son-Santana featuring Scott Stapp
14. Under The Bridge-Santana featuring Andy Vargas

The first effort explodes through the gate with Zepp’s legendary “Whole Lotta Love”. This gets your blood pumping, and in my opinion, it is  the best song on the album. First off, Carlos’ intro riff is very respectful of Page’s great hook. He manages to do a first-rate rendition of one of rocks biggest  songs while keeping it in a Santana vein. Next, Cornell’s vocals are so powerful and dynamic my speakers reciprocating pulse was like a Sawzall. The second track has Santana’s guitar tone very much in the vein of the Rolling Stone’s original. The stanzas are played with great deference to the original while still keeping the Latin flavor ever so resonating from the six string genius. “Can’t you hear me knocking” is a fantastic vehicle for Santana’s solo work as well. It is  focused and the two chord chorus repeats at a nice clip giving Carlos the opportunity to apply the honey, so to speak. The solo notes, as always, are carefully placed in a perpetual example of phrasing and control. In other words, he doesn’t just play all the scales he knows as fast as he can. Cream’s “Sunshine Of Your Love” still has wailing single notes with a tasty Wah-Wah pedal flailing the envelope open and closed like  shudders on a house in a Midwestern tornado’s fury. Van Halen’s “Dance The Night Away” places Eddie’s riff bouncing lithe-fully through the track by Carlos’ adroit fingers. Pat Monahan’s contribution is flawless. He brings out the pipes and really lets it soar singing more powerfully than he usually does in Train. Keeping with the “change it up philosophy” of the album, Carlos takes in some Southern roots with Credence’s mega hit “Fortunate Son“. Santana’s intro is warm and sets up the first stanza well. Stapp’s presentation is solid and sounds to me like a modern twist on Fogerty’s effort. The best thing about Stapp’s performance is that it’s  purposely not Creed sounding at all. (a high mark in my book, though I love Creed) The best duets are executed by the pairs: Santana/Cornell, Santana/Monahan,Santana/Thomas and Santana/Stapp. The tracks that these pairings represent are far and above the others; sounding like they have been together for years on the road. I can’t do the album justice unless I talk about the recording as well.  The lay down of tracks are flawless. Santana is featured in the mix just right; not too dominate and not too demure as well.   All vocals are crisp and sharp and not heavy laden with trilling effects like the Cher song: “Believe”. The vocalists are captured with the right timbre and pitch indicating the great level of musicianship. All other instruments are as the norm for a Latino flavored recording: with proper emphasis on drums, timbale, congas and the like. Now, now, before you start getting your dander up and thinking I am some kind of Santana sycophant, there were some things about “Guitar Heaven: The Greatest Guitar Classics Of All Time(Deluxe Version) that were pretty limp too.

In a what can only be described as a “last-minute vocalist change” or  a ” Record label set in stone mandate”,  the King of all Classic Hard Rock songs “Back in Black” by AC/DC, was as the big Lebowski would put it “micturated upon” with the greatest disrespect to the song and the band. When the track started rolling, I began to wince and furrow my brow a little because the classic opening riff was almost unnoticeable. I can’t believe Carlos would approve this rendition or allow it to roll off his fingers. The sonic defecation doesn’t stop there! Of all the vocalists they could have called in, like: Ian Astbury,Bruce Dickinson, Geoff Tate, Brian Mcknight, Jennifer Nettles of Sugarland or maybe even Rosie O’Donnell(lol) would have been a way better choice than NAS!! Did everyone associated with this record hit their proverbial heads? Rapping an AC/DC song should only be attempted be those willing to smear themselves with peanut butter, while raw cuts of meat dangle from their torso, as they sprint parallel with Australia’s Dingo Fence. I mean that country should get to dole out the punishment since their greatest rock band was so disgraced. My ever-expanding butt nearly fell out of my fine leather chair and on to the floor as the vocalist Nas started his confusing verbage. AC/DC must have just lent the rights to Santana; not knowing what would eventually end up on the album. OK that’s enough rage for that track.  Other tracks that aren’t up to snuff are: “Photograph” with Chris Daughtry,” Bang A Gong” with Gavin Rossdale and “Riders On The Storm” with Chester Bennington and Ray Mazarek. Def Leppard’s arena anthem was just to far away from the original for me. The little happy keyboard chords and the cheesy pie, soda pop way Daughtry sings the song doesn’t lend a new spin on the song or elevate it further(hence the avoidance of covering Signature Songs). Now I know this next comment is going to sound weird, and I might get some comments on this one, but even though Mazarek plays on “Riders”, this incredible 60′s selection has a giant hole in it and is  missing one major element: the Morrison Vibe. The original mystery of The Doors’ cut is just not there and it appears Santana and Chester Bennington don’t even give it a go. They should have recruited Ian Astbury of The Cult, who is the most underrated rock singer of all time,  and as most people know, replaced Jim Morrison in The Doors on one of their latest tours. Any record producer worth his salt, would have done anything to make that happen.  Finally, “Gang A Gong” with Bush’s Gavin Rossdale, I am torn about. I like what Santana does on the track, but not Rossdale’s contribution. Gavin is flat-out not a strong enough singer for that track. His voice is very breath-y and a frankly a little femme for such a grungy blues riff laden song. I would have like to seen Santana, or his manager, have flown in Paul Rogers for this one. I mean Queen has to have some days off, right?

In summary, I generally liked ” Guitar Heaven: The Greatest Guitar Classics Of All Time(Deluxe Version)”. It was a bit of a mixed bag of tricks; not unlike receiving a Christmas gift from the grandparents. It could be a new golf club, it could be a fuzzy Frosty the Snowman appliqué sweater.  You never know. Most of the album can be taken seriously though and shouldn’t deter fans from buy the album. Santana’s natural timing and well placed notes can fix many ill’s, except crappy singing and rapping one of the “Greatest Guitar Classics Of All Time”. I gave this album 3 and a half mullets out of 5. Although you can never account for people’s taste, most guitar and music aficionados will cherish Santana’s delivery of some of the best songs rock has ever produced.

“Keep music a passion”,

Chris T.

Over The Hill Guitar

 

Santana’s New Album: Mistake or Masterpiece?

Tricks and Picks

Coming Soon

Just around the corner are some of my favorite licks , tricks and techniques. So come along with me as we learn together.

The rage is building!

Be patient. The rage is welling up nicely. There is a lot to rage about lately and it’s about to unleash.