GUITAR PLAYER INVITES
all D.I.Y. artists and bands
to share their guitar skills
with our reader community.
This opportunity is open to
any player/band with a Web
site or MySpace page that
has their music posted. All
you have to do is go to
add the magazine as
a friend, and invite “Editor
Boy” to your music space. If
you’re not on MySpace, simply
send an invite to
.com. I’ll check out your
tracks and determine
whether you get coverage
in this column. Tracks are
evaluated for creativity,
composition, guitar chops,
and audio-production quality—
or you may make the
cut simply because your
track is surprising, interesting,
or brilliantly awful.
Jelinek’s gypsy-jazz workout starts out acoustic, and then switches to electric,
blending single-note and octave runs, as well as the requisite cascade of rapid
picking. It’s an enjoyable little romp—although Jelinek suffers a few slight clams
and seeming moments of indecision during the performance.
Some pretty melodic shredding is set up by a glistening arpeggio line that gives
way to heavy, distorted rhythm chunking. Unfortunately, it’s a bit of a mood killer
when the chunking doesn’t lock into the groove. Oh well, maybe it’s some superslick,
playing-sideways-off-the-one version of 22nd-century jazz.
Sounding like a more country-washed version of a Blasters B-side, St. Pierre’s
jivin’ blues tune is predictable, but his voice is pleasing, and his sparse soloing is
right in the pocket—nice tone, too. The track won’t drop any jaws, but I dare ya to
keep your foot from tapping.
Guitarist Margaret Scranton has a delightfully snotty tone and she really knows
how to dig into a riff until it dances into your brain. Her short solo at 1:40 cuts
into the mix with a soaring bend, says its piece, and then shuts up. Nothing in
Harlan’s penchant for creepy, horror-movie sonics, mile-high bends, and unexpected
melodic breaks “Hammer” out of the mold of a typical shredfest. In fact,
it’s his arrangement sensibility and production values that are the real treats,
here—almost as exciting as his pounding riffs and rapid-fire fingers.
You wouldn’t think this is serious, looking-for-a-label-deal music from the band
name and the obvious Hendrix influence, and it’s not. But it sure is a helluva blast
to listen to—kind of like those crazy, not-quite-there opening bands in the ’70s—
and “Ram Rod” plays some hot-ass guitar.
This 25-year old “Carmen Electra meets Marilyn Monroe” and her super-tight band
nail a hard-boogying riff to the floor, while Halla’s seductive singing and coy lyrics,
coupled with her explosive octave bends and Gibbons-inspired solo licks, slam
her perky pop palms-up against the ceiling.
On this 10:11 “ambient-experimental” track Allen lays down pastoral, filter-swept
chords accompanied by a cheesy but cool old-school drum sequence, then overlays
sustained, ring-modded, hyper-flanged, and delayed melodies, before shifting into
a brooding mood with pretty clean noodling followed by the obligatory overdriven
solo. He should have stopped at 4:20. myspace.com/gregallen66
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