|
|
The riff was recorded with the Ampeg and the Jackson KE1. There is a modulation within the first riff: The middle parts in lofi - quality sare played with the Telecaster and Marshall 2204. An old MesaBoogie Studio Preamp was used for solo guitar. From CD 1:25 min you can hear a nylon string, a "real" spanish guitar, built by Manuel Lopez Bellido, Granada, Spain. In the following solo a VOX Wah was put to used. The ending solo is intentional. If you think it`s too long, just skip to the next track.
|
|
|
| This song was named after a song by Jonas Hellborg ("Throwing Elephants"). The riff is in phrygian mode, the melody plaid at the same time in mixolydian mode. Therefore, this part is bitonal. The solo guitar was recorded with the Mesa Studio Preamp, the rhythm guitars with the Ampeg Reveberocket. From CD 0:55 min ths song changes to Ab dorian, a hamonica above. It sounds like a guitar, because it runs in a crunch channel of an old GrooveTubes guitar preamp with a speaker simulation. In the background the rhythm guitars are playing the tritonus Ab-D. The E-string of the Jackson is tuned to D.
CD 1:18 min: This part is in Eb-minor. The arpeggio of the acoustic guitar (brand Washburn) requests an Eb - tuning. The following solo is in D-phryian again. The solo was plaid on the guitar tuned a half step down, i. e. it is in Eb-dorian. From CD 1:53 min there was made a key change to D-lydian. Typical the riff from CD 2:25 min. In the ending solo the effects were made with an Digitech Whammy Pedal.
|
|
|
"Next", named after an old song from Alex Harvey, was recorded with the Ampeg amp. It sound like a song from Joe Satriani, that was intended. Ther isn`t much to say about it. The key is G- major. The melody at CD 2:09 min are harmonics, so there unfortunately is no finger vibrato.
|
|
|
Named after the science fiction novel "The City and the Stars", written by Arthur C. Clarke. (You can hear the typical, smooth sound of the Ampeg, too. The solo guitar was played pretty loud, so that the Jackson can really sing . The Jackson has not the sustain like a Gibson Les Paul, but you can balance it, when you increase the volume of your tube amp. From CD 1:58 you can hear a Marshall. I liked the total sound contrast Marshall/Ampeg. Time to say, that all guitars on this CD were reocorded linear, without a equalizer or tone controls. The background guitars, sounding like a keyboard, were played through an old Boss. Sometimes there are eleven gutiars overdubed.
|
|
|
Named after a song by Steve Swallow. There are no guitars in this song, but two six string - basses from Fred! Abe has played on two hi-hats.
|
|
|
Named after a song by Jason Becker ("Eleven Lue Egyptians"). In deed, the melody is lydian mode (from CD 1:19). The bass riff is influenced by a number from the "Yellowjackets". The lead guitar was doubled (left/right). The polyphon guitar parts are played in the style of Brian May.
|
|
|
The name of this song results from the main riff B-F. That are three high seconds, a tritonus therefore. The tapping part in the first solo is influenced by Brian May. In the middle part the song changes to Em-Bb. It`s still a tritonus :-). Equipment: pure Ampeg!
|
|
|
No electric guitars! The solo guitar is a spanish guitar by Manuel Bellido. Die Stimmen sind fünffach eingesungen und im Stereopanorama verteilt. Kein Hall, aber ein dicker Compressor, daher auch der fette Sound. Ein alter Trick, den ich hier gerne zum Besten geben will. Die Rhythmusgitarren sind Steelstrings. Die E-Saite ist auf D gestimmt.
|
|
|
Named after a song by Lucky Peterson. At the beginning a Digitech Whammy Pedal was used. The guitar was played with the Marshall 2204 and fingerpicked. The Telecaster has a fat compressor with a long attack time. Here, Fred plays his Ibanez fretless bass with a little distortion.
|
|
|
Named after a song by David Lee Roth, where Jason Becker was the guitarist. It is a blues song with a nearly clean electric guitar and the typical Strat-between-toggle-switch-position-sound. But it was the Tele with it`s three pu`s. Here also: typical Marshall sound and the VOX wah. Switched between the Hughes & Kettner Tubefactor.
|
|
|
You can hear two guitars left/right. But it is only one guitar with an echo! Only in the chorus there are really two guitars. The idea was inspired by Brian May again, who else? The bass solo at CD 2:07min is in stile of John Entwhistle ("Who). Hear it loud! The guitar is played with an old Mes/Boogie Studio Preamp. Abe has played on two snares.
|
|
|
Hey! Sounds like Metallica! That`s true intention. In the middle part Miles Davis` "Donna Lee theme was abused. With lower seconds!!! Don`t worry. The song should called "Exploding Zebras". I decided, that was too strange.
|
|
|
Named after a song by Michael Landau "Can`t Buy My Way Home". The guitar is tuned a half step down. It was recorded with my Stratocaster, used in my Blues band "Electra Blues". In this song, I used the same thrash as in track 10. But ther was one difference: the Marshall was really loud like hell, so that the Strat can cry like a woman!
|
|
|
Fred used the Hiwatt amp and played the bass twice left/right, a trick used by guitarists. The lead guitar has an octaver-effect. This is a fixed Digitech Whammy Pedal. Sledge Hammer meets Pat Metheny!
|
|
|
For friends of classical music. Here, the Bellido was used. No effects! No overdubs! Many classical guitarists put some reverb on their guitars, but I hate that. The guitar should sound like I would play in your chamber!
This was originally a piece for violin. So I had to transcribe it. There are 12 variations of a theme and das final.
|
CD Information
