Saturday, 25 September 2010

David Weiner: Dismantle - Live!

David Weiner - "Dismantle"

Lyle Watt: Die To Live

Lyle Watt - Die To Live

Daniele Gregolin: with michael manring and euro groove department




Guitar: Daniele Gregolin
Drums: Marco Maggiore
Bass: Luca Scansani

Special Guests:
Hyperbass: Michael Manring
Acoustic Guitar & Vocals: Jaqueline Perkins
Brand: MMRecords
Year: September 2010


buy it >> http://www.egdmusic.com/english/egd-shop.htm


Euro Groove Department, an Italian power trio formed by Daniele Gregolin (guitar and vocals) Marco Maggiore (drums and vocals) and Luca Scansani (bass), 6 years after the acclaimed instrumental debut album "Optical Illusion", comes back to the scenes with a new live DVD proving their great fit after a long international tour.
The band has become notorious thanks to their sound and the incredible technical skills of the single members, for the balance that greatly merges rock with spite-funk, cutting edge jazz and even progressive.
The DVD contains extended tracks from their first album and also two previews, as the unreleased tracks "Shark Attack!" and "Acesulfame K", which will be part of the new album actually in production.
Michael Manring, one of the greatest contemporary bass players, plays the bass in the track "Aliya" and with Jaqueline Perkins and her fascinating voice in "Sweeping the dust", and also in "The enormous room" - a bass solo. His bass fills the concert and testify the high level of the Euro Groove Department.

I'm attending The Milan Guitar Day 6 featuring Daniele Gregolin http://www.facebook.com/photo.php?pid=5591001&id=100901775307




Daniele Gregolin plays Euro Groove Department - !Shark attack!

Pedro Molina: Mesozoico - a fusion original

MESOZOICO.-Pedro Molina

Michael Lee Firkins: ZC3 Little Wing



Ziua Chitarelor http://www.facebook.com/profile.php?id=100000094660095 was my first chance to see Micheal Lee Firkins since seeing him play at Tower Records way back in 1990 after the staggering self titled release of Michael Lee Firkins on Shrapnel Records. During back stage talks Michael tells me he remembers this show vividly, as it was one of his first appearances outside of USA.

Michael Lee Firkins jams continuously in rehearsals, laughing and joking discussing his band and future plans for touring and new material. The last few months have been fruitful with Michael estimating that he's got enough material for two new albums.

On stage he really rips it up, instead of stage monitors he turns his amp around and lets it point towards him. On show night it is the 40th anniversary of the death of Jimmy Hendrix, so Michael tips a hat and jams his way memorably through Jimmy's greatest hits.

Michael indicates that he's not a big fan of too many pedals and effect, preferring to get the sound from the amp and having a fear that the other way will lead to things becoming unplugged part the way through. I must admit his sound was slamming on the night and he no doubt picked a number of new fans along the way. Micheal Lee Firkins: http://www.michaelleefirkins.com/. You can also pick up Michael's music: http://astore.amazon.com/truinshr2-20?_encoding=UTF8&node=216

Michael Lee Firkins: ZC3 Little Wing

Luke Fortini: improve in heavy mode

IMPROV. ON BACKING TRACK

Lorenzo Venza: hyperspace invaders in high quality audio

Lorenzo Venza - hyperspace invaders!(Hybrid picking studio - HIGH QUALITY AUDIO)

Joe Satriani, Dave Martone: Vancouver's prime time guitarist to support the satch!



Nothing gets a dedicated rock-guitar freak more psyched up than the announcement of a Joe Satriani concert. Local fans of the brilliant Bay Area instrumentalist can now look to the New Year with renewed enthusiasm as he's scheduled to play the Queen E. Theatre on Friday, January 7, with Vancouver axe master Dave Martone opening up. (Martone's band will include primo bassist David Spidel and the best musician in Nickelback, Daniel Adair, on drums.) more

Tom Hess: Songwriting - Part 2

Songwriting - Part 2

by Tom Hess
In this part of the article series, I have added to the list of songwriting ideas for each concept. Before we get to discussing these ideas, I want to mention that these concepts are best Before getting to that I want to point out most of these ideas are best used when first beginning to write a new composition. In other words, these concepts (as well as most of the ideas listed in Songwriting techniques -Part 1) are usually best suited when beginning the songwriting process of a new song. Likewise, they can be used effectively to compose transitional sections in a song.
Beginning with Melody first.
After you have written a melody, begin to write the chords around it. It may help you to compose the chords for this melody if you record the melody first, listen back to the melody while writing the chords. Ok, after you have your new chord progression written, record it. Listen back the recording of the chord progression only (without the melody). Using the chord progression you wrote for your original melody, use your guitar to improvise/compose another new melody for these chords. Compose several different melodies. Sometimes the original melody may not be used in the song because one or more of these new melodies may be better than the original. It is always good to have options to choose from.
If, after composing several melodies, your original melody is still your favorite, don't think you wasted your time by writing new melodies that are not as good. Many times you can still use at least one of these other melodies with the first melody. For example, your favorite melody may be used for the vocal melody, but you might want to use another melody as a counter melody played on another instrument under the primary vocal melody, or you can use the second melody as another vocal melody sung by a backup singer(s).
Yet another option is to use the original melody as the first half of a much longer melody and then use one of the other melodies as the second half of this new long melody. In this case, the second melody serves as an extension of the first to form a new long melody. Although this can be a very useful technique yielding more original results, it rarely works out perfectly the first time you try combining two melodies together to form one. You will probably need to make at least some minor adjustments (alterations) to one, or both, melodies to get them to connect in a cohesive way.
A variation on the last idea is to use two different melodies in the same section of the song in an AB form, ABA form, ABBA form, ABAB form or some other variation. It is important to understand the difference between this idea of separate formal sections and the last concept of making a single long melody. The long melody idea has a simple formal structure of "A" (it just happens to be long), vs. "AB". In both cases you are using both melodies one after the other, but in the long "A" idea (from the paragraph above) you typically need to make alterations to make both melodies fit as "one continuous melody". The "AB" form idea does not need to have the same level of cohesiveness. It is not seamless, the "AB" version has two distinct parts and can be rearranged in many different combinations (AB, ABA, ABBA, ABAB, AABBA, etc.)
Even if you finally decide to stick with your original idea and throw away everything else that was suggested here (sometimes this happens to me too), the process of going through all these techniques will make you grow as a songwriter, so it’s well worth the time and effort you invest.
Beginning with Chords first
Bear with me as this next set of ideas begin the same way as the last set, but the benefits and results will be much different. After you have written a chord progression you like, write several different melodies to go over the chords. Once you have composed a few melodies, record each of them without the chords. If you need to, listen back to each recorded melody and compose NEW chord progressions for each melody. If you wrote 5 melodies over the original chord progression, you will write 5 new chord progressions (one for each melody).
As you can imagine the same variations and combinations that were suggested above in the Beginning with Melody first, can be applied here. The same ideas and variations can be used for the "Beginning with Chords and Melody at the same time" (discussed in songwriting techniques - Part 1. )
The point here, in the above examples, is to keep you thinking about "developing" your ideas further and further before settling on the first good idea you come up with. Often times the process of developing your ideas will result in far superior results than you may have achieved without it. Of course, sometimes you may like your first ideas best for the current song, and use the newer ideas in a totally different song.
Tom Hess is a world renowned touring guitarist and recording artist. He teaches guitar players from all over the world how to master guitar playing in his online guitar lessons. Visit www.tomhess.net to get free guitar playing tips and to read more free guitar articles.

Joe Satriani: podcasts

You might have to go to http://www.youtube.com/user/websatch for some content as Sony might be blocked it in your country... stupid Sony?!?

Episode #0 (Intro) - Joe Satriani Black Swans and Wormhole Wizards Song Podcast


"Dream Song" is the second episode (and track) from the new daily podcast series for the new Joe Satriani album "Black Swans and Wormhole Wizards". A new podcast episode will come out each day leading up to the release date 10/5/10.

For podcast schedule & links, more information, and to pick up your copy visit http://www.satriani.com/podcast/BSAWW/

Episode #1 (Dream Song) - Joe Satriani Black Swans and Wormhole Wizards Song Podcast

Jose Galicia: Killer Star Forever original song

Killer Star Forever (Original) - Jose Galicia

Dave Martone: ZC3 photo gallery