Shred Room III

birdwithteeth11 wrote: James wrote: birdwithteeth11 wrote: James wrote: The bass sound I refer to is: John Wetton's playing with Mogul Thrash and Crimson Gary Thain's playing with Keef Hartley Band Mark Clarke's playing with Colosseum Wetton especially is amazing. Yes. His style with Mogul Thrash is quite different.  I don't know his work with Family, so I cannot comment on that. In what way is his style different than on KC?

More bluesy mostly.  I don't think his 1961 Fender Precision was amplified as much either.  I love both styles.

It's heard to explain the different though.  He probably plays in a similar style with Family.

James wrote: birdwithteeth11 wrote: James wrote: The bass sound I refer to is: John Wetton's playing with Mogul Thrash and Crimson Gary Thain's playing with Keef Hartley Band Mark Clarke's playing with Colosseum Wetton especially is amazing. Yes. His style with Mogul Thrash is quite different.  I don't know his work with Family, so I cannot comment on that.

In what way is his style different than on KC?

birdwithteeth11 wrote: James wrote: The bass sound I refer to is: John Wetton's playing with Mogul Thrash and Crimson Gary Thain's playing with Keef Hartley Band Mark Clarke's playing with Colosseum Wetton especially is amazing. Yes.

His style with Mogul Thrash is quite different.  I don't know his work with Family, so I cannot comment on that.

James wrote: The bass sound I refer to is: John Wetton's playing with Mogul Thrash and Crimson Gary Thain's playing with Keef Hartley Band Mark Clarke's playing with Colosseum Wetton especially is amazing.

Yes.

The bass sound I refer to is:

John Wetton's playing with Mogul Thrash and Crimson
Gary Thain's playing with Keef Hartley Band
Mark Clarke's playing with Colosseum

Wetton especially is amazing.


Edited by James - February 01 2009 at 23:03

Being good at improvisation is really hard.
Even with songs that I know inside out in terms of theory, the progressions, what modes/scales to use, etc, being able to improvise like a master goes beyond theory. You need that certain 'feel' for it I guess.

My attitudes to the guitar changed a lot in the last year though.
For a while I wanted to do the instrumental guitar thing, but now I want to be in a band with a vocalist and don't want to be the main focus of the band either. I'd love to have a second guitarist to trade lead guitar with, because I always hate being the sole lead guitarist in a band. I've been in a band with 2 guitarist, but the guy couldn't play lead, but it honestly gets frustrating having to handle all lead duties, I like to take a break from it.
I wanna get songs out there, not just 8 minute solos, songs with riffs and development and all that and leave the solos for where they are needed.

My mate does sound good though... but after seeing and hearing his band play a few times you just grow bored of his playing.

If he restrained himself a bit, he'd sound so much better.  He has been brought up on Zappa, Vai, Satch and Vaughn though.


Edited by James - February 01 2009 at 22:50

James wrote: HughesJB4 wrote: James wrote: HughesJB4 wrote: James wrote: I believe he refers to tapping. All ze kiddlywinks can do tapping. Now give me some soulful playing! Oh shut up James with your 'soulful' crap. Because emotions are only about 'soul', urghh. I'd feel pretty limited myself if all guitars solos had to be 'soulful'. Not all of them. But tapping is far too... erm... empty emotionally for me. And to me so is every second 'Blues player' who plays blues to justify their lack of development on the instrument and claim it sounds raw, when it really sounds like sh*t. Blues guitar in particularly, is pretty bad lately, lots of guys 'play it' without having any f**king idea of what they are doing, and they believes blues was about 'just putting in soul and playing'. For christ sake, the reason why Stevie Ray Vaughn sounded so amazing was because he actually knew how to play properly and actually understand the blues beyond the mere basic theoretical concepts and actually knew what he was doing to make the music come alive. Every second blues player is just as bad as every second shredder or jazz guitarist who has no idea what they are doing. Wow, way to misunderstand my point! Although I do somewhat agree. This is what I mean... current blues players don't vary their sound enough and don't experiment. I don't mind tapping and shredding. But I have a mate who basically shreds and taps to almost everything and he rarely plays the guitar any other way even though is capable of doing so. I'd prefer he played Comfortably Numb in a blues style, rather than tapping and shredding his way through it. So it's how it's used not by guitarists I'm mot bothered about. And Warren Haynes knows exactly what he's doing when it comes to blues guitar.

Well if it must be said, my playing has gotten more restrained over the last few months after seeing some many youtube shredders without any good phrasing or taste.
I can't stand guys that shred over anything.............shred is there to fit in a context, it's not there to just try to 'shove in' any ranrom context if that makes sense.
Hell, for school I had to do a cover version of The Thrill is Gone by BB King. I spent weeks and weeks, just looking inside myself and just thinking where I needed to leave space, and I never played anything over about 4 notes in a second, which is suitable for the context.
If I were gonna take a Gilmour solo, I'd listen to it many times over, let the vibe sink in deep and think "would Gilmour himself think this is suitable for the song" and that line of thinking really helps you to see the proper context and how you should be playing..

I love watching the G3 jams in particular, because when they do a blues song, Steve Vai fumbles around and kinda noodles aimlessly, but when Satch takes his solo, it's like Albert King re incarnated yet still his own style.
Sure, he's well known for his shredding, but the man does some of the most authentic Albert King style blues licks I've heard in my life. He's a better bluesman than most blues players are.
 Warren Hayes does a great blues too, you can tell he really listened to it instead of just trying to play via the theory and chords.

HughesJB4 wrote: Henry Plainview wrote: HughesJB4 wrote: Henry Plainview wrote: Pat and James, have you heard Sir Millard Mulch? And would you agree that he is kind of funny but makes very boring music? He had a good quote about going back in time and killing whoever invented the guitar because the frets let idiots play music, but it's off his website and I'll never find it again. Which is too bad because it is the only thing from him I actually liked. "because the frets let idiots play music" Lol what? Do you ever see a punk rocker play cello? That is the point he was making.   Keep in mind, this is a guy who mostly play guitar. Unfortunately he's more pseudo-Buckethead with pseudo-Zappa lyrics than anything else in my opinion, but that's not Are you referring to the frets as in, people play guitar because they are too stupid to memorize the notes on a violin/cello? I'm not sure if that was what you were getting at or not. I barely ever look at the fretboard when I play. The frets are there mainly because certain fret sizes change the way the guitar feels in your hand and for me anyway, that's the main reason I like frets is because it can enhance how a guitar feels, but otherwise I think I could perfectly adapt to learning the notes on a non fretted string instrument given enough time.