Jul
27
Written by:
GP Blogger
7/27/2010 10:45 AM
I don't consider myself a "shredder." I realize this is a statement that
may be surprising to some, but it's true. There are those who call me a
shredder and I don’t take it as an insult. But I hope there’s more to me as a
musician—otherwise I should just quit now.
For one moment,
let’s compare the role of a guitar player to that of a cook. "Shredding," that oft-used term to
describe fast soloing, can be compared to its culinary equivalent. In other
words, whether we’re talking about scales and modes or cabbage and chicken,
both scenarios involve chopping items into very small bits. A less literal but
more pragmatic comparison might be the following: "shredding" within a piece of
music is like adding any strong ingredient such as basil or hot pepper to a
recipe. Used tastefully, it can enhance an existing dish with a touch of spice
and intensity. But used unsparingly and egomaniacally, it can overpower the
creation and ruin it entirely. Who wants to eat a dish where all you taste is
one ingredient?
I’ve been described
as a shredder by radio hosts and fans. Knowing they mean it endearingly, I
smile and take it with a proverbial grain of salt (that other potentially
overpowering ingredient). But when labeled as such by websites, blogs,
magazines, and those on-line music guides, especially the ones that have the
gall to use the word "genius" to describe themselves, it can be difficult to digest. Sometimes it causes
heartburn.
There are several reasons for this. For one thing, I don’t relate to the
so called "shred community." Shred community? Ok, maybe it’s just me, but I
fail to find anything communal about a bunch of half-mad monkeys with whammy
bars enviously eyeballing each other as they compete over who can play the
fastest.
Here’s
another thing: Shred has become
a tiny subgenre in itself, one that has taken on the stigma of a musical
ghetto. Just as urban ghettos represent disadvantaged areas of a city, the shred genre is a failing neighborhood of music, populated by sonically
impoverished guitarists (and occasionally other instrumentalists as well),
unwilling or unable to rise above the oppression of their own egos. And just like the in the real ghetto,
their predicament is exploited by greedy corporations, with suburban music
store chains and rock clothing outlets in place of liquor marts and check
cashing facilities.
Yet
there is an even bigger reason I cringe when I see my name or my music aligned
with that of the "shred people." That reason is this: For the most part, their
work has little or no connection to what I feel music is. To them, speed is
their primary purpose, the sole reason their music exists. To me, speed is that
pungent, strong spice, an effective and powerful ingredient to be used when
appropriate—please take note of those last two words: "when appropriate." I’m
going to say them once more: WHEN
APPROPRIATE!
I’m not saying you
shouldn’t play fast; In fact, I’ve always liked certain music with very fast
guitar solos. In many cases, these solos pushed me to practice harder. But
here’s a really important point: it was never just about the solos. Let’s take a quick look at three of these tracks I heard
early on that inspired me to practice playing fast. These are not necessarily
my Top Three, just ones that caught the attention of these very young ears
whose listening tastes back then were more in line with the likes of Kiss, the
Sex Pistols, Devo and the The Rocky Horror Picture Show soundtrack:
“You Really Got Me,” (Van Halen, Van Halen). It is the
brilliantly played riff, huge guitar sound, personality filled vocals, and
pulsating groove, which draw you in. Eddie Van Halen’s call and response
guitar licks blend perfectly with David Lee Roth’s suggestive vocals. When the solo comes, Eddie’s blues
attitude, extreme bends, and three-fingered tapping show up just long enough to
say what needs to be said. It is
tasty, effective, and not overdone.
"Mr.
Crowley” (Ozzy Osbourne, Diary Of A Madman) Randy Rhoads’ solo is a direct result of the JS Bach
influenced chord progression, gothic keyboard intro, and Ozzy’s haunting vocals.
Randy combines rock licks with baroque classical flavor (recorded back when
that was a new and exciting thing to do). The final solo includes a tasteful
mandolin imitation—further conjuring thoughts of Europe in the medieval dark
ages.
“Short Tales Of The Black Forest.” (Al Di Meola, Elegant Gypsy). Al’s
steel-string guitar gracefully trades off with Chick Corea’s acoustic piano.
The two improvisers maintain an intense yet delicately woven dialogue, never
trying to outdo each other (unlike a certain live guitar trio recording of the
same song—of which I’m not a fan). The fiery guitar and piano licks always
serve the greater purpose of the atmosphere and ambience, creating the
sensation of traveling to a place of the listener’s imagination. (A black forest
perhaps?)
These three very
diverse songs have a common link that can be described with one word—it’s a
word I hesitate to use but one for which I can’t seem to find a suitable
alternative: vibe. If you can
get past the images of tie-die-clad, incense-wielding characters like the ones
I grew up around in Berkeley (Dude, I’m feelin’ the vibe, man!), vibe seems to describe that which is indescribable—the magic quality
that great music has. With the vibe comes the capacity to make you feel a
certain way, affect you emotionally, conjure up memories, help create new ones
and bond with friends over the song, making it real music.
If a song can retain these
qualities while incorporating great fast licks then that’s wonderful. But when
a song is built around the showing off of technique, as is the case with so
much in the shred genre, then it becomes the equivalent of fast food—all
flash, no substance, and "bad for
you." And nowhere is that type of
music more prevalent than at the annual Winter NAMM convention in Anaheim,
California. I recently had
a five-part series on NAMM, on my own blog, SkolNotes. NAMM is an event I’ve
had a lot of conflicting feelings about. On the one hand, it is a lot of fun to
walk around, try out new guitars and amps before they hit the marketplace, and
see friends in the music industry whom you never run into all in one
place. On the other hand, you find yourself bombarded by an onslaught of sound,
of which personal expression is painfully absent. Shredding abounds.
At
NAMM, there isn’t a whole lot of real music. Instead, you mostly hear
something I refer to as “NAMM music.” NAMM music exists for the sake of gear
endorsements, product demos, and clinics. It does not create moods or memories
and would never be played at a party (unless it was a party for music
gear-obsessed geeks). You sometimes hear it in the background of commercials
for sports channels and auto supply shops—you know it, that amped up elevator
music with static rock grooves and a guitarist who sounds as though he’s taken
a bit too much Viagra. NAMM music has no soul. It must be stopped.
The whole
instrumental rock movement has gone hand in hand with NAMM and the two have
created a bit of an incestuous feeding frenzy. I’m not saying there haven’t
been some great albums that fall under the category of "instrumental
rock." But it’s a bit like "jazz
fusion," which started out as a musically interesting movement by Miles Davis
and his disciples,* only to become cheapened by imitators, watered down by the
industry, and eventually morphed into one of the most hate-inspiring, offensive
musical genres of all time: "smooth jazz."
Instrumental
rock has spawned its own ugly freak of a bastard love child—his name is Shred.
Shred, as
it exists today, has all but lost the great qualities instrumental rock once
had. When brought to the forefront
in the 1970’s, instrumental rock had a leader who understood that it wasn’t
just about playing flashy guitar licks. This English gentleman applied the same
high standards of the great artists he enjoyed, ones who reflected his diverse
listening tastes. His name? Jeff
Beck.
Last year, I was fortunate enough to see Jeff Beck in concert for the
first time ever, at New York’s Irving Plaza. His guitar expressed deep
sensitivity, emotion, texture, and expression, communicating with the audience
as if it were playing for each person individually. We were transfixed in
silence for some songs, cheering at the top of our lungs for others. Even the
friends I went with—non-guitarists who weren’t even born when this music was
popular—were deeply moved. Jeff made the concert not so much about him, but
about his other band members, their group dynamic, and the collective experience
of the music. Because he had the class, humility, and dignity to step out of his
own way and that of his band, his own star shined brighter, His band, no
slouches themselves, were free to interact with him and each other, adding their
own personalities to the recipe. This collective stew was then spiced up by
Jeff’s stellar licks which were sometimes fast and flashy—but only when
appropriate.
That
night, I had a brief conversation with someone I was introduced to—he concurred
with everything I’ve just said here. This fellow concertgoer, who was also seeing
Jeff for the first time, is considered one of the current greats himself: Allman Bros and Govt. Mule guitarist Warren Haynes. Despite years of collective experience spent on stages and
in studios (especially Warren, one of the busiest guitarists of all time), it
was like being kids again. There were many fellow guitar enthusiasts in there
that night but it didn’t matter who any of us were—professionals, hobbyists, or
non-players alike. We were all one class and school was in session. Jeff Beck
was and is a master we can all learn from.
In conclusion, I’m
not telling anyone to stop shredding. Shred away. But get your priorities
straight about your playing. Making good music that affects people on a deeper
level should be placed ahead of impressing your peers and fellow guitar
players. Never lose site of the fact that your solos—flashy or otherwise—should be a fitting topping for an already delicious dish, like the
chanterelles and poblano chiles accompanying the roast monkfish at Apiary
restaurant in New York.* Just as a
chef doesn’t settle on a topping first, then try to create a dish around it, an
effective guitar solo is the result of a good piece of music, not the other way
around.
*Herbie Hancock, Chick Corea,
John McLaughlin, Joe Zawinul, to name a few.
**reference courtesy of chef Scott
Bryan.
alexskolnick.com
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50 comment(s) so far...
Alex Skolnick: The Shred Epidemic
I didn't take Alex's comments as a personal affront to those who have developed tremendous technique; rather, a plea for creativity.
I once worked in an office with a large section devoted to cubicles, wherein accountants tapped out the numbers on the 10 key. I was envious of their speed and dexterity. Sure was hard to listen to for very long, though...
By stewieiommi on
9/9/2010 11:08 AM
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Alex Skolnick: The Shred Epidemic
excellent article. excellent examples.
and you are an excellent guitar player.
i think the term shredder has been a little over used and sometimes misused ,especially by people who don't actually play. because you can play fast doesn't mean that you are 'shredding'. rhoads could play fast ,but you could hear and feel every note. a fuuny thing is that you don't hear the term 'shredding' applied to classical and flamenco.
and some of those guys rip, no effects, nothing.
thanx alex , you have been one of my favorite players for a longtime,right up there with randy,eddie and iommi. you are a class act.
By chris on
10/19/2010 2:01 PM
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Alex Skolnick: The Shred Epidemic
Very intelligent and well written. I agree, just because one can play well does not make him a shredder. What someone does with their talent determines their greatness, not how fast they can play.
By James Thomas on
7/27/2010 10:57 AM
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Alex Skolnick: The Shred Epidemic
Great piece Alex and I agree with everything you said. I would have loved to been a fly on the wall for your and Warrens conversation and have been a fan of both since your first albums (your Jazz stuff too)!
By Micha Kite on
7/27/2010 11:02 AM
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Alex Skolnick: The Shred Epidemic
Excellent article.I agree with absolutely every word you wrote.
By Ashe on
7/27/2010 11:10 AM
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Alex Skolnick: The Shred Epidemic
Completely agree with Alex on his well-written and very insightful article, especially regarding the morph from real fusion to smooth jazz, which is unfortunately what people seem to want. Likewise the contrived, made-for-coporate-radio rock and pop that's so uninspired and over or underproduced (purposely, to try and create [italics] minimalistic sound and vibe).
On another note, Alex rightly says the solo serves the song or piece, and some of the best tunes don't even have solos, or have a (seemingly) simple repeating figure, such as Ain't Talkin' 'Bout Love, which is perfect for that tune. And all of the guitarists he mentioned have always been about serving the entire package and enhancing the dish rather than overpowering it with neverending solos that have no musical direction, no build, peak, and release. The cooking analogy is a very good one because finding that balance after learning the basics is what leads to real creativity within the structure and confines of a tune, similar to a recipe.
Very well done, and Johnny Beane is also right -- one well-placed, perfectly played note can rip your heart out and make you cry, whereas 10,000 notes sometimes just makes you want to cry -- in pain.
By John F. Helm on
7/27/2010 11:43 AM
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Alex Skolnick: The Shred Epidemic
well said alex, music and the feeling should always come before any of it, playing fast , ego or whatever - i entered one shred guitar contest out of fun, the comments i recieved were amazing. all the guitarist noticed my tone, my ideas, the space in the solo,the upper structure notes over the changes , the melodies i improvised...with all these elements and things ive studied in music ,i use to communicate feeling in music , and i dont think i played one fast note. smile ( ouch ) rhsc nyc
By cheryl pyle on
7/27/2010 4:46 PM
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Alex Skolnick: The Shred Epidemic
I agree one hundred per cent. For me the beauty of the guitar is it can touch people emotionally in a way that no other instrument can. Each note should mean something.
By Steve Rothery on
7/27/2010 10:41 PM
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Alex Skolnick: The Shred Epidemic
Ah,shredding...When I was younger in CT during the late 70's & 80's it was all the rage to see who was the fastest gun.Van Halen,Malmsteen,Holdsworth,Rabin,Pierce(guitarist's I've seen live)etc. all encompassed speed as a part of their musicality. I've found in recent years I can only listen to this type of guitar expression
with a sense of pity when it's devoid of a song requiring a speedy solo. I most enjoy solos when they're not a byproduct of speed & flash but of true musical,melodical craft(i.e."affair of the heart" R.Spring field w/Tim Pierce on the solo).Yes's 90125 is a really cool example of Trevor Rabin's speed combined with extreme musical craft & tasty memorable lines. Within these confines a burst of speed makes sense.
By Hilton F.Jones on
7/27/2010 11:45 PM
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Alex Skolnick: The Shred Epidemic
My favorite part of this is your mention of The Rocky Horror Picture Show soundtrack. I Love most of the songs from that too, and the movie is a freaky masterpiece.
I know that I am overlooking your point too, but I am not a shredder either...............Let's do the Time-Warp AGAIN!
By mav on
7/28/2010 7:29 AM
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Alex Skolnick: The Shred Epidemic
I agree one hundred per cent. For me the beauty of the guitar is it can touch people emotionally in a way that no other instrument can. Each note should mean something.
By Steve Rothery on
7/28/2010 10:09 AM
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Alex Skolnick: The Shred Epidemic
Totally agree with Alex's comments here. I myself have been playing for over 19 years and used to love shredding my way through a solo. But as life goes on, playing, writing and teaching for numerous years, i quickly became tired of the Shredder scene. What still amazes me is that there are people who think its out of the reach of most players, well yes and no, but what ive seen of a lot of shredders that evades them alot is tone, feel and mood. Shredding done as Alex stated "When appropriate" not only works well but looks fantastic.
This article has been a long time coming and im glad the statements were made from someone of worthy musical praise as a musician.
By Brendan on
7/28/2010 10:10 AM
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Alex Skolnick: The Shred Epidemic
I agree one hundred per cent. For me the beauty of the guitar is it can touch people emotionally in a way that no other instrument can. Each note should mean something.
By Steve Rothery on
7/28/2010 7:10 PM
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Alex Skolnick: The Shred Epidemic
isn't music about self expression? play anyway you want fast or slow and beck is basically doing the same thing he was many moons ago which was good then too.
play fasts with feel and groove. this is an art of the inner-self whether deep or shallow as you imply about the BS term "shred"
By ShamHam on
7/29/2010 3:12 AM
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Alex Skolnick: The Shred Epidemic
Shred is interesting up to a point. I respect the time and energy it takes to develop it. But the Jeff Beck stuff is amazing. I have enjoyed his playing for many years. There is a TV program with him playing a small venue in England in which he really has come of age. He is the master of every guitar gimmick ever conceived, from tapping to fingerstuff whammy bar and volume tone controls- I mean everything. he is the greatest strat player of all time.(Including SRV and Hendrix-both dead now-it breaks my heart to imagine what they might have become over a lifetime) 99% of what he plays has no efx, just a marshall, and volume controls and his extraordinary hands. The dynamics- fast slow, loud soft, humor, "heaviness" et al. This level of playing requires a lifetime to develop and beck has never stopped evolving. It is a must see for any rock player.
By kennedy connor on
7/29/2010 1:33 PM
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Alex Skolnick: The Shred Epidemic
Thanks for all the great comments. I'm amazed to see so much agreement- still waiting for the 'shredders' to come out and try to 'shred' me.
Another thought that's come to mind since posting- in example one, "You Really Got Me," there is a serious 'shred' moment at 2:26. And what a great moment that is, because it is tastefully placed as the grand finale of the song! If the whole song was like that, it'd be ruined. Check it out for for yourself :
http://www.youtube.com/watch?v=-A3GPkjHMvg
Cheers
By AlexSkolnick on
8/3/2010 7:46 PM
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Alex Skolnick: The Shred Epidemic
I couldn't agree more ! I love a fast solo only when it's done tastefully and fits the song. I too believ that it's got a lot to do with what fits the song as opposed to guitar " masturbation" that a lot of players especially the ego one's suffer from. I do believe that you can still say a lot with both 1 note or a score of notes when done right . I guess it depends on who's playing. That's the beauty of music being universally free for everyone .
By john rehfeldt on
8/7/2010 4:42 AM
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Alex Skolnick: The Shred Epidemic
ok, I'll bite ......
Alex, we love ya.....but please, don't be a killjoy
Getting to be A little high-handed, are ya .... be careful, Al ......
Micheal Angelo Batio forever !! :-)
By big one on
8/10/2010 4:57 AM
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Alex Skolnick: The Shred Epidemic
THANK YOU Skol! And I doubt anybody can come up with a well-thought out retort to his argument.
Another song that comes to mind when discussing speed/fast playing when appropriate is Deep Purple's "Highway Star". Both Ritchie Blackmore and Jon Lord come up with exciting guitar/organ solos (respectively) that are filled with great classically-inspired melodies and build up with exciting flashes of fast runs here and there that really give off the vibe of speeding at 120mph, dodging dangerous curves and coming to a screeching halt with nary a scratch.
By LG on
8/10/2010 8:16 AM
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Alex Skolnick: The Shred Epidemic
Love this... I've been playing for 37 years and have never actually learned to play real fast, although I sometimes admire those that do.. Carlos Santana said it well too, I believe he said that everyone has a place in the musical garden, and that it's up to each one of us to bring that beauty that's uniquely ours. Alex's Jeff Beck comments were dead on as well.. I get teary just thinking about it.. Now that was real music.. unforgettable... Every guitar player owes it to himself to see Jeff at least once in their lifetime...
By kegmon on
8/10/2010 9:28 AM
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Alex Skolnick: The Shred Epidemic
I agree wholeheartedly with this article. One thing that I have always enjoyed is listening to a great player who shows restraint. I like to use the examples of Michael Schenker and Uli Roth. Both of these guys, at relatively young ages, had technical chops that transcended what was typical in mid-70s hard rock/metal. They also had impeccable phrasing, vibrato, and remarkable restraint. While tunes like "Catch Your Train" or "Mother Mary" displayed their technical skills, they were tempered with the phrasing and vibrato that made solos in tunes like "Love to Love" or "We'll Burn the Sky" equally impressive without all the pyrotechnics.
By Travis on
8/10/2010 9:36 AM
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Alex Skolnick: The Shred Epidemic
Ive always been more about the song rather than just the guitar solo.
Myself id rather hear real feeling in 1 single note with a little vibrato than no feeling at all in a shredding solo with 10,000 notes.
By Johnny Beane on
7/27/2010 11:00 AM
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Alex Skolnick: The Shred Epidemic
There--someone FINALLY said it.
By Rob Michael on
7/28/2010 7:09 AM
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Alex Skolnick: The Shred Epidemic
Awesome.I've been saying this for years (20+),and it's great to know that this comes from way on high also.To me,this piece was very inspiring.Thank you.
By Ken Johnson on
7/27/2010 11:21 AM
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Alex Skolnick: The Shred Epidemic
This made me rethink writing music. I keep beating myself up about not having the chops. I like some of the songs I write but the solos? Meh. I'm a hack. Reading this made me think about the music again. Yeah it should always be about the song. I like to say that but often find myself trying to achieve a type of shred I know I'm not capable of.
I'm glad I read this. Now I can just go on and concentrate on the song and not worry about the solos. I just hope I can get 1/100th of the level of playing of any of the above mentioned guitarists. If I could even approach Jeff Becks fluid playing, I would be happy.
By hue on
7/27/2010 12:58 PM
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Alex Skolnick: The Shred Epidemic
100% truth. Good to read citations of both Eddie Van Halen and Randy Rhoads, two of the few rock guitarists who I believe really "got it" as far as how to write and play technically demanding solos. Too much shred just makes me wince and jam the "Stop" button - and mind you, I count Paul Gilbert among my favorite guitarists. Paul has a songwriter's sensibility, though - never does his playing seem to clash with the song. Same goes for Nuno Bettencourt. As a guitarist who wants to be a songwriter, I spend too much time interacting with other guitarists and especially too many my age (22) and younger. The atmosphere gets thick and choking with the "NAMM music" mentality.
By Thomas on
7/27/2010 2:45 PM
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Alex Skolnick: The Shred Epidemic
Alex, while I will agree you have reached an elevated plateau of a tasteful musician with far superior style choices for ears of the Sophisticate, far different from your youth, a variety of musical menus are always needed. There is a place for all types of musical styles, whether or not we agree with it, makes no difference. I can’t believe that the best selling wine in the USA is box wine, but there is nothing I can do about it, people buy it! and worrying about it doesn’t make me a better sommelier.
I missed out on much of what Testament was, because I simply could not handle the sound/noise level it hurts my heart. I enjoy the rare instrumental treat of the guitar, and have been privileged to see One Night IN SF, where --shred probably was the order of the day. When we watched that concert, we knew it was unlike anything any other musicians could ever do, Al is one of a kind! Fast is another way to describe it, we said he was the Fastest Flamenco Guitarist in the world! Drums are all about fast, and if you look at the punk scene, its bigger than ever, like a Pepsi, its taking over and becoming the new norm.
My brother plays a Fender Rhodes Piano, it’s wonderful, and that kind of music opend the door for Pat Metheny who is absolutely my favorite—Jazz Musician. Many think he is elevator, to each his own I say. Your description of children from unmarried parents, reminds me that you have only emacipated yourself from the past that is the Bay Area. Maybe that’s how they roll in the big time, but here in the sticks, we still like it with sugar on top.
I am sure the shred will be there in Sept, and so will we.
Skoal!
Liz
By liz Masloff on
7/27/2010 2:49 PM
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Alex Skolnick: The Shred Epidemic
I've been teaching guitar for nearly 30 years now. You articulated many things that need to be said to young players. Guitar solos used to lift a song to a different place, now it is primarily musical masturbation that has NOTHING to do with the SONG being played. Thanks Alex!!!
By Randy Gouge on
7/27/2010 3:08 PM
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Alex Skolnick: The Shred Epidemic
"Instrumental rock has spawned its own ugly freak of a bastard love child—his name is Shred."
Yep...
By Brad Hoyt on
7/28/2010 4:01 AM
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Alex Skolnick: The Shred Epidemic
d
By kennedyconnor on
7/29/2010 1:18 PM
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Alex Skolnick: The Shred Epidemic
I agree one hundred per cent. For me the beauty of the guitar is it can touch people emotionally in a way that no other instrument can. Each note should mean something.
By Steve Rothery on
7/29/2010 10:32 PM
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Alex Skolnick: The Shred Epidemic
Sorry for the multiple posts! Not sure how that happened. Chrome must have been reposting whenever I refreshed the page.
Steve
By Steve Rothery on
7/29/2010 10:34 PM
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Alex Skolnick: The Shred Epidemic
Could not agree more. Shred is a blight on guitardom. Why? Because it is devoid of musicality and has reduced guitar playing to mathematics and sickening rote studies. When I was studying classical guitar we called them "etudes" - literally, "studies". You seldom, if ever, played "studies" as part of your repertoire - you played them to practice scales and other techniques. Some music incorporated that kind of virtuosity, but it is a tiny fraction. The "Shred Community" by and large has no real knowledge of what they're doing. They don't really understand the music theory or music history behind what they're doing. It would be like the rest of us memorizing the sounds of Chinese well enough to parrot someone without actually being able to speak or read the language.
BTW -if you want a great, fast, manic guitar solo that most "shredders" would never be able begin to play... it's Buck Dharma's insane final solo in "Dominance and Submission" on BOC's "Secret Treaties". It has been one of my favorite rock LPs for nearly 40 yrs. Genius. And I totally agree about Jeff Beck. All Shredders should be required to listen to "Blow by Blow" before they're allowed to do one single "shred" solo.
By Bradlee TheDawg on
8/2/2010 6:39 PM
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Alex Skolnick: The Shred Epidemic
well said-even tho I am a shredder the main music I do is a variety of world themes meets metal meets what ever ales me...but Alex makes a great point-shred is seasoning and if you get to much of it then it just becomes one flavor and in many cases becomes boring.
I love the shred stuff as many guitarists use it well but it is all about the song.
;)
By creek on
7/27/2010 4:35 PM
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Alex Skolnick: The Shred Epidemic
I agree one hundred per cent. For me the beauty of the guitar is it can touch people emotionally in a way that no other instrument can. Each note should mean something.
By Steve Rothery on
7/27/2010 8:14 PM
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Alex Skolnick: The Shred Epidemic
Clever writing!
By Álvaro Nunes de Sousa on
7/28/2010 10:22 AM
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Alex Skolnick: The Shred Epidemic
Sometimes during the process of creating, in any art form, guided by given notes; in music, words, ideas, or images, the players/creators poetic license allows for a projected internalization of their chosen portrayal based on personal interpretation, which can lead to a manifestation of combustible force in all manners of sound, speak and vision that can't be held down. Like, this well written culinary tempered observational commentary.
By Kimber on
7/30/2010 6:09 PM
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Alex Skolnick: The Shred Epidemic
I remember watching Alex Lifeson playing one of his masterful solos many years ago and having an epiphany; ITS ABOUT THE SOUND. Fast or slow, dirty or clean, Muddy or Malmsteen, you can feel when its got flavor. I remember getting my first amp and it was magic playing with me, suggesting chords and notes just from the sound of it. Its just when the "shredders" started bagging on Jimmy Page for being "sloppy" when the whole mess got out of hand. PAGE/DAZED AND CONFUSED/BEST "shred" of all time!!! ;)
By Justen on
8/6/2010 10:12 AM
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Alex Skolnick: The Shred Epidemic
Alex's blog is insightful and intelligently written. His analogies about wanking on the guitar are spot on - using it tactfully as a seasoning or style over substance being like fast food.
Here's another one - it can be like a drug. Many of us take up guitar because we are motivated by the power, presence, and adulation that our guitar "heroes" have or receive. Their music moves us, but there is something else we identify with in the rock guitarists that inspire us.
Hopefully, as we grow in experience and ability, that original desire grows into something more meaningful. But it can also be tempting to chase that feeling. And pretty soon we need more and more notes to cop the same buzz ...
By shredded underpants on
8/26/2010 2:53 AM
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Alex Skolnick: The Shred Epidemic
Alex -
Not every guy that likes to play basketball is going to make the NBA. A lot of them are just going to be able to go out to the playground or rec center and hang out with other guys they like and play 21.
Not every girl is beautiful, and has guys chasing after them. But they want to put on make up and go out, too.
not every one that works in a kitchen is going to be some fancy chef. but the world needs a LOT of short order cooks too - exponentially more of them than real chefs, in fact.
Everyone knows your story. Everyone understand you are truly a musician of a very high order. But Alex, let me ask you this..... do you think everyone that wants to play guitar has number one, your talent, number two, your drive and work ethic to develop your skills, and number three most of all.....are all of them so discriminating as listeners, endowed with the ability to play and know the difference between lets say average music (or even dreck, ok) and Wes Montgomery or Rhoads ? Most people don't like Wes and Pat M and Joe Pass (my alltime favorite, who I know you played as a child).
So while I agree with most everyone here, and agree with what you are saying on a purist, conceptual level - I totally disagree with you in the sense that you are being totally unrealistic and just .... snooty. C'mon man, who are you to look down on shredders - OR ANYONONE ELSE, ALEX ?
There is plenty of room in this world for the kind of sophisticated examples of high level music you site - AND for the kids in guitar center wailing on practice amps. Are they preventing you or me or anyone else from doing anything ? Alex, I will always be a disciple of the watch, always be your fan, would never achieve half your accmoplishments and skill in seven lifetimes.... but ya got the wrong head on this one.
Not the worst thing in the world that can happen to someone, I'm just letting you know.
By big one on
8/10/2010 2:10 PM
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Alex Skolnick: The Shred Epidemic
Our beloved instrument should make Music first, the flash is fantastic when it fits the total work. Personally I love all music , I'm a fan of Bob Marley,Bill Monroe and Motorhead. Make Music is the goal, even when you don't feel like you are getting in enough licks, there are so many ways to phrase and texture the rhythm, and I have gone from lead player, to Guitar player. Use that whole instrument.In The two man band "Uncle Mont's Quandry" I have with Roger Downs (drums) I have to cover all the bases, I view the guitar as a drum, the low string the Bass or drone if need be, the high strings are sometimes a horn section with little stabs and am finding more Joy in the rhythm and the exploration of the Riff than the lead, so the lead becomes a project of it's own to get the screamies in there where they truly fit and get back to that Root Riff. For the sake of the song, speed and mathmatical playing are there if it suits the end result. There is incredible talent and skill in the shred areas, so don't knock it, Just make music, and it's labels are endless, but Duke Ellington said there are two kinds of music, good and bad. That's all it is in the end. Gunslingers usually die in the movie, apply your passion as you will just make sure you don't sell your own experience of the Mysterious guitar we love short focusing on any one thing. P.S. Keith Richards for President!
By Jimmy Fleming on
9/18/2010 10:57 AM
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Alex Skolnick: The Shred Epidemic
Well done, Alex! Someone has finally nailed what a lot of people think about the guitar shredder. He is the egomaniac "look what I can do and you can't" masturbator of the guitar. Shredding if done tastefully is nice but if it becomes the theme of the song becomes mundane and boring. Case in point is David Gilmour. He will tell you in a heartbeat that he CANNOT shred. Thank God that he can't! He is the one guitarist that plays from the heart and does nothing to obstruct the song with too much embellishment. When you hear him play you automatically know who it is...and it makes you smile! Why? Because he is the tastiest guitarist and he is all about the song and where the sound or tone will take you. If shredding is done to an extreme it will just give you what I call "ear fatigue" and becomes boring. There is nothing wrong with practicing being the fastest scale or mode shredder but know where to use it and how to use it and it will appeal to most.
By Sonny on
11/13/2010 4:31 AM
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Alex Skolnick: The Shred Epidemic
Mr.Bradlee The Dawg. Your description about the musical ignorance of all those neo classical shredders is perfect. Thank you very much for that.All the best.
By circlecase on
1/17/2011 4:10 AM
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Alex Skolnick: The Shred Epidemic
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