defrog: (Default)
If I ever do a playlist or show on the greatest rock'n'roll riffs, I would definitely put this on it. Jim Babjak doesn't get nearly enough credit for coming up with such an agile, muscular and addictive riff.





This is dEFROG-FM, where no one wins or takes the blame.
defrog: (science!)
Apparently April is International Guitar Month.

And I won’t say I had that in mind when I came up with this playlist. It was more about me idly thinking one day about the iconography of guitars in popular music (especially rock), which led to wondering how many songs are written about guitars.

But much of my life has been shaped by the forces of serendipity, so sure, Happy International Guitar Month.




METHODOLOGY: Two-hour time limit, and the word “guitar” has to be in the title. That’s it, really.

Coming out of the hole in the wood,

This is dF

DIVER DOWN

Oct. 10th, 2020 12:03 am
defrog: (Default)
Eddie Van Halen is gone. And, well, Van Halen were such a fixture of the pop culture landscape I grew up in that it's impossible not to blog something about him. 

So this is where I tell you that my first exposure to Van Halen was a fake radio show.

To explain: when I was in 9th grade or so, I had aspirations to be a radio DJ. So did an erstwhile friend of mine named Barry, and we would get together every so often to record a “radio show” on cassette using my cheap Memorex tape recorder placed next to the stereo speaker. We called ourselves KCBQ for the sole reason that he had somehow acquired a cassette of station ident jingles made for a station called KCBQ.

Anyway, we would play music from our combined record collections, and one day he brought over the debut album by some band I’d never heard of called Van Halen. We played “Runnin’ With The Devil” for the show. Musically I liked it, and they clearly had a sound that wasn’t quite like anyone else out there. But it would be awhile before I got into them. Most of my subsequent exposure to them was passive – I’d hear them on the radio, and my heavy-metal sister got a copy of Fair Warning and wore out the needle on it in her room.

My main resistance to them wasn’t the music so much as their “party hardy” image, which was very not my thing in high school. Also, while Eddie Van Halen was clearly a talented guitar player, I was already listening to widdly-widdly guitar solos from the likes of Alex Lifeson, Brian May and Tony Iommi, so for me he didn’t stand out that much, except for his guitar tone, which (along with speedy double tapping and spandex) became standard issue for every hair-metal band from LA, for better or worse.

But VH were worlds better than most of the bands they inspired, largely because they had a sense of humor and sounded like they were having a good time, which won me over eventually. What impressed me about Eddie VH wasn’t his chops (good as they were) but that he clearly loved playing so much that it came through in his music. Frankly they all looked like they were having fun up on stage, and it was infectious.

Which may be why my favorite VH anecdote is the one where a young teenage Rollins saw them upstage the headliner, Ted Nugent.

[FULL DISCLOSURE: I never saw them live. I’m referring to live concert footage here.]

Anyway, yes, VH were all over my teenage landscape by the time 1984 came out, and as good as they were, the ubiquity, the tabloid drama and their “party hardy” rock star status made them increasingly incompatible with the punk and college radio bands I discovered in the mid-80s. So perhaps it’s as well that Diamond Dave quit when he did. And being a fan of neither Sammy Hagar nor Extreme, I don’t really care for the post-Dave VH models.

But I listen to the VH classics on a fairly regular basis now, and have a better appreciation of just what they accomplished and why Eddie VH is so revered as a guitarist.

For example, one of my favorite VH songs is “Unchained” – not just for the Ted Templeton cameo, but for the weird off-kilter riff Eddie VH plays during the verses. It’s such an unobvious thing to be doing in a song like this.



For extra Eddie VH, why not enjoy this track of him blues-jam duelling with Brian May until he breaks a string?



Happy trails,

This is dF
defrog: (45 frog)

I know concert guitar solos are supposed to be uncool, indulgent and pretentious – and sometimes they are – but sometimes they’re thrilling.

This is one of those.



As a teenager I listened to Live Killers a lot, and the stuff Brian May was doing with his guitar and his amps onstage sounded alien and dangerous to me. (The psychedelic breakdown during "Get Down Make Love" alone gave me the most amazing nightmares.)

But this – THIS – was just insanely amazing to listen to, not just for the music but the craftsmanship of taking two modified Echoplex tape-delay boxes and running them through separate amps, resulting in a triple-echo that enabled May to harmonize with the echoed notes and recreate that layered guitar harmony sound he does in the studio. It’s hard to understate how tricky this is to get right in terms of timing and the structure of the riffs, etc.

This is probably the only live guitar solo I’ve committed to memory, and it haunts me to this day. Which is partly my own fault because I listened to it on Spotify the other day and it’s still ringing in my head. Glory be.

Also, Roger Taylor's timpani solo is a surprisingly nice touch.

Thank you for coming to my TED Talk.

ADDENDUM: For what it's worth, this is for me the definitive version of "Brighton Rock", most likely because I listened to Live Killers for several years before I managed to get a copy of Sheer Heart Attack and hear the original.

A little magic in the air,

This is dF
defrog: (devo mouse)


[Via Guitar Smash]

Play it loud,

This is dF

defrog: (Default)


[Via Profondo Russo]

The elephants in the room,

This is dF


defrog: (elvis hell)
This will be me in 20 years.

long live rock

[Via Neat Stuff]

Oh, who am I kidding? This is me now.

My generation,

This is dF
defrog: (Default)


[Via Nudie Suits]

Faders up,

This is dF


defrog: (Default)
This is a bit dated, but I only just found out about it:

On July 4 in Dallas, a local musician staged an Open Carry Guitar Rally.

And 300 people showed up with guitars.

OpenCarryGuitar1.jpg

OpenCarryGuitar2.jpg

OpenCarryGuitar3.jpg

Obviously, the object was to parody gun owners staging open-carry protests, although the actual event wasn’t an anti-gun rally in itself. You can read the details here.

The local open-carry group, Open Carry Texas, was of course supportive of the rally in the sense that “we totally support the First Amendment” – which implies that yr now supposed to return the favor and support their 1A right to freak people out in Target and Chipotle and wherever the hell else they feel like carrying iron.

Ha ha. No.

It’s a shame the Open Carry Guitar Rally didn’t get nearly as much coverage as the open-carry gun protests. But anyway, it’s a great idea. I like the concept of showing how people react differently when you carry a guitar over yr shoulder en masse than an AR-15.

Of course, I’ll admit when I heard about it, my first thought Robert Rodriguez’s Mariachi Guitar Army.



And also this song by Deadbolt.



Don’t shred on me,

This is dF
defrog: (Default)


[Via Suicide Watch]

Together we’re heavy,

This is dF

defrog: (devo mouse)


[Via The Cult Of Ray]

http://apocalypsedudes.tumblr.com/post/53840456137

It might get loud,

This is dF
defrog: (Default)
You know that rock music is still a male-dominated genre when everyone gets all amazed every time a female guitarist gets on stage and knocks out some Eddie Van Halen-style riffing and shredding. 

Even years after everyone from Joan Jett and Lita Ford to Sleater-Kinney and The Donnas already kicked down those particular doors – to say nothing of all those YouTube videos of teenage girls knocking out metal solos – it’s still the gender of the guitarist that defines how many people react (and often as not, how hot she is).

At the moment, the two guitarists at the top of the “You play pretty good for a girl” list are Orianthi and Marnie Stern. Both of them are relatively new to me (having only been hipped to them in the past year by Mr Jason Franks). And they both have new albums out this year.

I am far more excited about the latter.

Here’s why.

For a start, it takes more than chops to impress me. LOTS of people can play guitar well. A smaller subset can play guitar INSANELY well. But if yr playing music that doesn't really connect with me on some level, I’m not going to get much out of it.

Orianthi is an INSANELY good guitarist whose style can be described as “all purpose”, which is why she’s able to collaborate with everyone from Michael Jackson, Adam Lambert and Carrie Underwood to Mary J Blige, Tokyo Police Club and Alice Cooper. And her solo work is, essentially, “all purpose” hard rock songs about standard rock topics. She’s very good at it, but it’s not really my thing.

Marnie Stern, on the other hand, is an INSANELY good guitarist who plays completely bonkers indie rock that sounds like some demented tribe of extraterrestrial winged unicorns from Arcturus backed by Cindy Wilson and Kate Pierson of the B-52s.

Okay, I’m exaggerating a little. But seriously, her new album is startlingly idiosyncratic. And bonkers.

Listen.






It’s probably not for everyone. I can see a lot of people getting annoyed by her vocal style alone. But there’s something just insanely joyful about the whole album that appeals to me.

Immortals don’t die,

This dF


defrog: (Default)
Frankie played guitar …



[Via Space Ghost Zombie]

Monster of rock,

This is dF


defrog: (Default)
Indeed.



[Via Retrogasm]

If you build it they will come,

This is dF


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