Guitar Nine Columns: Guitarists and Bands

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Enjoy over 20 years of staff columns, guest columns, interviews and more!

October-November 1997

Instrumental Metal That Screams For Vengeance

October-November 1997

Intense, Ripping Instrumental Guitar

October-November 1997

Surprising Interpretations Of Contemporary Classical Guitar

October-November 1997

Adrenaline-Pumping, Cinematic Heavy Rock

October-November 1997

Stepping Outside Contemporary Fusion

October-November 1997

Folk And Rock 'N' Roll With A Country Flavor

October-November 1997

Mixing Luxurious Soundscapes With Rock/Blues Guitar

August-September 1997

The one thing I always try to do is be in a creative state of mind when I compose. It seems that the ideas flow better if you are working on it on an ongoing basis. For a lot of my instrumental tunes, I sometimes get a mental picture of something in my head, and then ask myself what music goes with this scene. This is much like scoring for film--except the film is in my head!

August-September 1997

Driving Rock Music With A Message

August-September 1997

Powerful, Progressive Instrumental Metal Music

August-September 1997

Skill and Musicality Mark Instrumental Release

August-September 1997

Swedish Instrumentalist Does It On His Own

August-September 1997

Inspiring Others to Find the Inspiration in Themselves

August-September 1997

Balancing Technique And Melody... From Italy

August-September 1997

Even though these days it takes a lot of idealism to produce an instrumental record, I strongly encourage everybody who`s playing around with the idea to do so. Just don`t expect to get any money out of it, regardless of the quality of your product. It might happen, but it`s very likely that it won`t. But you will have the best musical business card there is and a unique document of your own creativity.

June-July 1997

I record at home in my 16 track (analog) studio. It took me lots of time, energy and money but I`m glad that I`ve got one. Nothing can beat a home studio. You can go there anytime you want and not be bothered by anyone other than yourself. You don`t have to book time, and pay by the hour. Unless you`re a lunatic, that is.

June-July 1997

You have to have a good promotion budget and don`t skimp corners when it comes to this. You can have the greatest album and if no one knows that you have one out and available, it really is no good. Utilize all that you can with local publications and national ones as well. Always think of the nation as your market and not just your town. You can be the biggest thing in your hometown and unless they know you around, it really is not going to help you.

June-July 1997

Crunchy Riffs, Infectious Guitar-Laden Grooves

June-July 1997

Hungry For the Big Time

April-May 1997

Get on the Internet!! It`s the best way to get your music heard by millions of people all over the world. Get someone in the music industry to help you (if you`re lucky). Get a web-site and push your music and never stop. If you have a dream go for it and don`t let anything stop you! Get out there and perform your music live as much as possible.

April-May 1997

Many of the first seeds of a song come to me when I`m mountain biking or jogging. It is at that time when my head gets totally clear and the creative juices start to flow. The tricky part is to remember your ideas until you get somewhere that you can write them down! Then it`s just a matter of developing the songs.

April-May 1997

Texas Blues... From Wyoming

April-May 1997

Improvisational, Emotional Jazz

February-March 1997

Serving Up Dessert For Your Ears

February-March 1997

We all write together at rehearsal. We never set out to write something new, it always happens that one of us will be tuning up with an idea or just jamming on something, and the other two will jump on it. By the time we realize it, half the song is already written. We look at each other and say, `I guess we`re gonna` write today!`

February-March 1997

I`ve mostly been motivated by wanting to hear something that`s already in my head. For the classical tunes, I always thought Paganini`s Caprice No. 5 would sound amazing on an electric guitar and just really wanted to hear it. If someone else had a recording out first, I probably would have bought it and then just listened to it instead of playing it.

February-March 1997

Broadening The Appeal Of Instrumental Rock

December-January 1996

My long-term goals are simple, continue improving and have fun! I don`t care really if I don`t become a `rock star` or a `guitar hero`, as long as I`m happy with my music and maybe someone else likes it too.

December-January 1996

I`ve sold thousands of copies of the "Dreamscapes" CD. You have to realize that 95% of all my sales come from traditional print advertising. Reviews don`t sell your product. Marketing and advertising do! I`m amazed at the amounts of money bands and artists put into the recording and manufacturing of their product and then have no idea on how to sell it. Marketing and promotion go hand in hand; you need to do both.

December-January 1996

I was offered a couple of small record deals, but the contracts were ridiculous so I invested my own money, and it`s starting to pay off. At least this way you own your product.

December-January 1996

Blurring The Lines Between Jazz And Contemporary Rock

December-January 1996

Three Musicians Become One, United!

October-November 1996

Promoting A Better Appreciation Of The Versatility Of Flamenco

October-November 1996

Session Guitarist Ready To Broaden His Appeal

August-September 1996

Pointing Toward The Future Of Modern Music

August-September 1996

Reinventing Music As Sustenance

June-July 1996

Write-ups from artsts who have demonstrated a great appreciation for the guitar, and who strive to show what can be done with a guitar in the hands of a creative artist.

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