BrotherStranger

After spending seven years on the road touring with the Nashville based band The War, singer and songwriter Daniel Levi Goans returned to his native North Carolina to begin writing and recording his first effort under his own name. A few years and albums later, the talented musician has been working hard on developing his craft, which is showcased on his latest release BrotherStranger. Using his surroundings as influence for this music and lyric writing, Goans “looks into the loneliest moments of (the) human experience” with this record, with an eye on “weav(ing) them into a place of tenderness and safety.” These 13 tracks, which were recorded over the course of one year in an old library on Chesapeake Bay, are a strong representation of the high level of musicianship and songwriting that Goans has achieved during his time as both a sideman and solo artist.

Goans’ music contains an atmospheric element that is both laid back and intense at the same time. On songs such as “Arcana Echoes,” Goans uses vocals and multiple instruments weaving in and out of the listener’s focus to develop a sense that the melody and harmony are at once firm and yet moving around the peripheral. An instrumental song, this track brings to light Goans’ ability to move beyond lyrical content to develop a connection with his audience. While he could have used lyrics on each track as a means of connecting to his audience, by mixing in instrumental moments such as this, the songwriter is leading listeners down an unexpected yet enjoyable musical avenue. Keeping them guessing as to what is coming next and preventing the album from becoming predictable.

As a guitarist, Goans sticks fairly close to the American folk genre of playing. On songs such as the title track “Brother Stranger,” Goans plays a simple, yet effective, bass-chord strum pattern that floats behind the main melody and vocal harmonies in a way that highlights the harmony without taking away focus from the lyrical content of the tune. On songs like “Enemies,” the guitarist takes more of an arpeggiated approach as he fingerpicks his way through the chord progression. Even here, there is a strong sense of a melody line being brought out by Goans’ picking hand. Though he uses an acoustic guitar throughout the album, his use of multiple right hand techniques such as fingerpicking, strumming and mixing the two together, Goans keeps things interesting while not straying too far from the folk genre that he is influenced by and uses as the backdrop to his songwriting.

Overall, BrotherStranger is a strong effort from Goans. Showcasing his abilities as a songwriter, performer and arranger, the album is a great introduction to this talented musician for those listeners that have yet to discover his artistic catalogue.

Multi-platinum guitarist Kenny Olson has announced the upcoming release of his long-awaited, debut solo album “Kenny Olson Cartel” on February 7^th through Foxy Music/Firebird. While Olson may be best known as Kid Rock’s 11-year axeman and founding member of his Twisted Brown Trucker Band, music fans around the globe are soon going to know him by the music of his ground-breaking, genre-bending rock band, Kenny Olson Cartel.   Also, fans can now check out the new video of the song, recorded live at 3^rd & Lindsley in Nashville at Kenny Olson online: http://www.kennyolson.com/up-all-night-video. Following a short run of warm-up dates this past December, the Kenny Olson Cartel will tour throughout 2012 in support of the album release with dates to be announced.

Listen to the album’s first single “Up All Night” now online at KennyOlson.com and download it for free: http://www.kennyolson.com/index.php/free-download/.

Featuring an all-star cast, the Kenny Olson Cartel’s self-titled release features vocals by Jon Nicholson, founding member of Nashville’s famed musical collective MuzikMafia; Hugo Ferreira from multi-platinum rock band Tantric; Paris DeLane of Chicago-based R&B rock band Sonia Dada; Detroit’s Brandon Calhoon, best known as a finalist from the music show Rock Star: INXS; Emanual Cole on drums, keyboards by Peter Keys (George Clinton, Lynyrd Skynyrd), bass by legendary Billy Cox (Jimi Hendrix) and more.

From the blistering rock stylings found on the album opener “Loaded,” the blazing rock riffery of “Up All Night,” and the old-school groove of “Sweet Rosie’s,” to the sexy R&B in “Heaven on Earth,” the infectious funk and lyrical romp of “Left Sock,” and the smoking instrumental “Psychedelic Lap Dance,” the album is a diverse mix from a lifetime of musical influence and “the Cartel lets me put it all out there in one fell swoop,” says Olson.

The Kenny Olson Cartel is the product of a life lived in music from the time Olson was young. Born and raised primarily in Detroit, Olson recalls that “there was always a guitar around my house” belonging to his father or uncles, who also instilled in the fledgling musician a love of blues and rock classics — including Howlin’ Wolf, the Rolling Stones, Jimi Hendrix, Led Zepplin and Miles Davis. From Seventies R&B, Motown and Funk to Iggy and The Stooges, Olson was soaking it in and rooting himself.

Olson started playing in earnest when he was 10, and it was indeed love at first riff. By the age of 14, he was hitting the stage as a serious six-string gunslinger and Detroit teenage rocker. Out of high school, Olson’s raw talent was discovered by Roger Probert, who signed AC/DC to Atlantic.

By his early twenties, he was bouncing between LA, Detroit and New York working live and in the studio on numerous solo and band projects. Olson worked with many Detroit legends including Scott Asheton of The Stooges, Scott Morgan of The Rationals, members of the Funk Brothers and even George Clinton. Olson opened for numerous national acts including appearances at Lollapalooza, but when the ‘94 earthquake destroyed his LA apartment, he saw it as a sign to head back to his roots in Detroit.

Olson’s claim to fame came when he joined forces with Kid Rock the following year, making an indelible contribution on stage and in the studio. Kenny and Kid wanted to experiment with new song structures and rock sonics, taking the evolving rock-rap blend to a new level. As a founding member of The Twisted Brown Trucker Band and co-writer, Olson wrote and performed on Kid Rock’s major albums, all of which reached platinum status, several or many times over: Devil Without A Cause (1998); History of Rock (2000); Cocky (2001); Kid Rock (2003); Live Trucker (2006) and appeared on other various releases

From the soulful guitar work in “Only God Knows Why” and the guitar antics on “Cowboy” … to the funky elements in “Devil Without A Cause” and hip-hop-flavored riffs on “World Class Sex Rhymes” (featuring Snoop Dog)…to the meat ‘n potato in-your-face guitar action on “Bawitdaba”… and even the teary guitar solos of “Picture” (featuring Sheryl Crow) Olson happily reflects, “It was a smorgasbord of musical expressions for many years.”

Meanwhile, the rest of the world took note of Kenny Olson’s muscular yet intricate style. He contributed to works including Uncle Kracker’s double-platinum debut Double Wide (2001), Run DMC’s Crown Royal (2001), Desmond Child/Bif Naked’s Purge (2001), Hank Williams, Jr.’s Almeria Club Recordings (2002), Sheryl Crow’s The Very Best of Sheryl Crow (2003), Billy Cox & Buddy Miles’s The Band of Gypsys Return (2004).

The decision to leave Kid Rock was difficult for Olson — but necessary. “Those guys are like family,” says Olson. “I was with (Rock) for 11 years. I love that whole band. We’ll be 80-year-old guys and we’ll be able to look at each other and go, ‘Can you believe…?!’ But I felt like I was at a point where if I didn’t do my ultimate dream thing, then I never would. And I knew the journey would be the kind it should be – tough and long.”

Kenny Olson shared stages the world over with artists such as Metallica, Aerosmith, Buddy Guy, Paul Rodgers and Run DMC, as well as performed live and in the studio for the Hendrix family. Other musical endeavors have included projects with Les Paul (Les Paul & Friends), Sheryl Crow, Billy Cox, Chaka Khan and Faith Evans. Add GRAMMY, AMA, Billboard, VH1, MTV awards, late-night shows, Super Bowl, world tours with Aerosmith and Metallica and even his own Simpsons character to begin to top it all off.

When Olson began an association with the Hendrix family and Experience Hendrix, LLC – which consider him “family” according to Janie Hendrix, Al Hendrix (Jimi’s father) wanted Kenny on the album, Power of Soul: A Tribute to Jimi Hendrix (2004), with Chaka Khan – hence “Little Wing.”. On Hendrix and Olson, Carlos Santana said, “First of all, Jimi Hendrix was a seeker, an explorer for the rest of us. He didn’t copy anyone’s style and he wouldn’t expect that out of us. To copy him or to try and sound like him would not honor him. As for Kenny Olson, Jimi would have loved him. Kenny is quiet like Jimi was; he doesn’t seek the spotlight for himself. He lets his guitar speak for him. In musical circles Kenny Olson is known as the cat that plays with Kid Rock, not for him.”

He also joined several Experience Hendrix tours and formed groups such as Flask, Motorflys and all-star band, 7daybinge. Having the chance to play with some of his heroes including Hendrix cohorts Billy Cox, Mitch Mitchell and Howlin’ Wolf’s guitarist Hubert Sumlin, Olson says, “I learned so much, heard so many stories and made such great friends. It was the greatest education. I really feel like they’ve passed me the torch and it’s my job to keep it burning.”

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PRS Guitars tell us that the company was on site at Daytona International Speedway for the historic 50^thAnniversary of the Rolex 24 At Daytona, providing world class entertainment and awarding several highly collectable instruments to race fans and race teams alike.

Top Notch Concerts

Michael Shank with his PRS Private Stock Trophy - Photo courtesy of PRS Guitars.

With the help of Guitar Center, the world’s largest musical retailer, PRS hosted three concerts in the Sprint FANZONE during the 24-hour endurance race. Sixteen year old Alex Trimblett, winner of the In Tune Race to the Stage competition, opened up for guitar sensation Orianthi on Saturday night. He played with the Rocky Mountain Stoneflies, a PRS house band comprised of veteran musicians. Orianthi then took the stage, backed by the Paul Reed Smith Band, and delivered an incredible performance filled with sensational vocals and impressive guitar solos. To close out the evening, the Stoneflies returned to the stage and played a set with guest appearances from Paul Reed Smith, Davy Knowles (PRS signature artist), Jeff Smallwood (GRAND-AM Racing), and Greg Di Benedetto (Guitar Aficionado magazine). The third concert featured Davy Knowles, a phenomenal guitarist and vocalist from the Isle of Man. These performances added an exciting new element to the race and had eyes temporarily glued to the stage.

Stunning Race Trophies

The overall Daytona Prototype (DP) winner of the high-endurance event, Michael Shank Racing, took home the PRS Private Stock Custom 24 trophy instrument, which has a retail value of $16,000. PRS President Jack Higginbotham presented the guitar at the podium in Daytona’s Gatorade Vistory Lane to Michael Shank who exclaimed, “I’ve been looking forward to this one!” In the Grand Touring (GT) class, Magnus Racing took home the first of the 2012 PRS GRAND-AM trophy guitars with their first ever GRAND-AM win.  The Magnus Porsche GT3 Cup car has flown PRS decals for two years, making this victory especially rewarding for the Stevensville, Maryland instrument manufacturer.

Lucky Fan Wins Big

In an effort to bring these experiences to fans, PRS helped sponsor two promotions in conjunction with the Rolex 24 At Daytona. Guitar Aficionado magazine, Guitar Center’s Platinum Room, and PRS held a sweepstake to win a VIP racing experience. The winner, Tony Benken from Nashville, TN, received a replica of the PRS Private Stock Custom 24 trophy guitar signed by a plethora of Rolex 24 champions, meet and greet opportunities with PRS artists, hot laps with four time Rolex 24 At Daytona winner Scott Pruett, a magnum of Pruett’s award-winning wine, and a tour of the paddock by Pruett himself.

As the 2012 season continues, be on the lookout for PRS decals on TRG, Turner Motorsports, and Magnus Racing racecars and the PRS GRAND-AM trophy that will be presented to the DP and GT winners of each Rolex Series race. Guitar Center Fan Days will be held in conjunction with three additional 2012 races – Watkins Glen International, Indianapolis Motor Speedway, and Mazda Raceway Laguna Seca. These events bring fans many unique opportunities, including free setups on PRS guitars, meetings with product specialists from the PRS factory, in-depth product demonstrations by PRS staff, the chance to meet GRAND-AM personnel and experience their interactive mobile display, and the opportunity to purchase a replica of the 2012 GRAND-AM trophy guitar from Guitar Center, the exclusive dealer for these instruments. Guitar Center Fan Days also host the In Tune Race to the Stage auditions for teenage guitarists to win a chance to play at a Rolex Series race.

“It was an honor to be part of the 50^th Anniversary Rolex 24 At Daytona.  We have worked hard for 10 years to bring together the worlds of racing and music and we feel we accomplished that over the weekend in a way that eclipses our previous efforts.  Working with DIS, GRAND-AM, In Tune, Guitar Aficionado, Guitar Center, and all the musicians to pull together each element was enormously gratifying to the entire PRS team,” said Jack Higginbotham, PRS Guitars President.

For more information on PRS Guitars, www.prsguitars.com

For more information in PRS Guitars in the World of Racing, www.prsracing.net

For more information on the In Tune Race to the Stage, www.intunemonthly.com/racetothestage

For more information on GRAND-AM Road Racing, www.grand-am.com

For more information on Daytona International Speedway, www.daytonainternationalspeedway.com

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Peppino D’Agostino has to be one of the most remarkable solo acoustic guitar players on the scene today. Not only is his technique flawless, but his compositions are truly remarkable which helps to keep him ahead of his contemporaries. He has been working very hard to make a name for himself since the 1980’s when he decided to take his career a step further by moving from Italy to San Francisco. Since then he hasn’t looked back and has been enjoying a very successful career as a guitarist, composer and arranger.

Over the past twenty years, D’Agostino has reached critical acclaim, given concerts in North and South America, Canada, and Europe, has released eight solo albums, published three instructional DVD’s, composed a movie soundtrack, collaborated with some of the best musicians in the world, helped design his own signature series Seagull guitar, just to name a few accomplishments from a list that seems to grow by the day.

His technique draws from the classical guitar world being that his right hand is well trained, virtuosic, and he has excellent tone production; while his left hand is very accurate and executes his difficult music with precision and ease. His compositional style is amazing as he draws on elements from so many different genres. This quality makes his music not only beautiful, but exciting, original, fresh, and interesting.

D’Agostino is a guitarist and musician of the highest caliber and his music transcends so many different styles that it will be attractive to a very wide audience, not only guitar players.

Recently he caught up with Guitar International and gave us some insights on his approach to music, guitar playing, and more.

Peppino D'Agostino by Giorgio Uccellini

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Brad Conroy: How did you first begin playing the guitar?

Peppino D’Agostino: I was about ten years old when I was introduced to the guitar by my cousin, who was a few years older than I am. At that time, playing guitar was a really cool thing to do in Italy, the Beatles were really popular and many people were playing and I just wanted to join the crowd.

After a while playing became an obsession for me. I began listening to many different players and trying to emulate what I heard on the recordings. In the beginning years I didn’t use many books and learned how to play mainly by ear.

My first guitar was really strange. It was a classical guitar, but it had steel strings on it, Eventually, I moved to the electric guitar after a year or two because I wanted to play like the Beatles.

Brad: Were you self-taught, and what were some of the types of things you studied?

Peppino D’Agostino: I was self-taught, and I spent a lot of time playing along with recordings and trying to emulate what my favorites like Carlos Santana were doing. Eventually I heard the recording with Santana and John Mcglaughlin and that really changed my outlook on music.

I was really inspired by John Mcglaughlin and he helped me realize that music was a subject that was to be deeply studied. I spent the next few years trying to play like him, which was impossible.

Eventually, a family member came home from a trip to America and they brought with them a recording of the great acoustic player Leo Kottke. That really changed my life. It was after that when I decided to devote myself to solo finger style acoustic playing.

Brad: Did you learn how to read music, and do you think it is an important skill?

Peppino D’Agostino: Yes I did, because a lot of the music that I wanted to play was written in notation. I remember buying this Chet Atkins book that had a beautiful arrangement of “Charade” which was a movie soundtrack. I really wanted to learn this piece; so I bought a method book which helped to teach me where the notes are in relation to the guitar. Painfully, after a while I really learned note by note how to read music, and this really helped me to start making better sense out of the instrument.

Years later I was asked to join The United Guitar Ensemble with classical guitarist David Tanenbaum, and I was the only steel string player in the group which meant that I had to really speed up the process of my note reading. I was playing a part in the “Brandenburg Concerto” by J.S. Bach, and you can’t really memorize this kind of music, you have to read it. I would say that reading music is a necessity if you are going to perform with classical musicians.

I don’t think that reading music is essential if you want to be a great guitarist though. Many of the greatest guitarist of all time have never learned how to read music, but if you want to arrange your music with other instruments, or be able to read through Bach, which is worth it just so you can see how he approaches music, than reading is a necessary skill, and by doing so will make you a better musician all around.

Brad: You use a lot of alternate tunings on the guitar. Can you tell us what you like about them and how a young player might get started using them too?

Peppino D’Agostino: I use both standard and alternate tunings. With the standard tuning I am able to understand chord progressions, scales, and all of the theory because in most books that is how it is explained. When you alter the tuning everything changes, the familiar chord shapes, patterns, and scale positions aren’t there anymore. That is the disadvantage of alternate tunings; you can’t approach it from the intellectual. When I am in a new tuning, I use an instinctual approach and just follow the notes, sounds, and try not to let the intellectual get in the way.

The advantage of alternate tunings is you can get new chord inversions that aren’t possible in standard, as well as new and interesting sounding chords which really help to make the guitar sound fresh sometimes. Another advantage is that just by strumming the open strings you have a chord and that can really help give you the freedom for exciting new rhythms and melodies.

Peppino D'Agostino by Shawns Design

Brad: Does using different tunings cause any problems when playing live shows?

Peppino D’Agostino: My guitar is a signature model that I helped design and it has an interesting headstock. It is very narrow so that the strings are in a straight line to the tuning machines which helps the guitar stay in tune.

I haven’t had too many problems changing tunings during live shows; I think my guitars are used to it. If I am performing close to my home in California I will bring a few guitars with me; a steel, nylon, and twelve string, but if I am performing internationally it would be a nightmare to travel with three guitars.

Brad: Can you tell us how you approach composing a new piece?

Peppino D’Agostino: It was the Mahavishnu Orchestra that really opened the door, inspired and left an imprint on me in this area. John Mcglaughlin, especially on the first two recordings, played music that you could tell was deeply studied, there were elements of Stravinsky, and the music was also highly instinctual and from the heart. The music I write comes from an intellectual and soulful or spiritual place. Different moods help to inspire me, thinking about my wife, or things going on around me all inspire my compositions.

Brad: You have quite a few YouTube videos; can you tell us how this has helped your career?

Peppino D’Agostino: It is all part of a combination of things that you need in order to get things going from a business stand point. You need a certain structure and a team behind you to really help get things moving. I have a manager, and recently started working with a publishing company, and the internet has all been a part of it. The YouTube videos have really helped to get my name and music out there, but you can’t only do that. I personally feel that you need to tour a lot, have a few recordings, stay in touch with your fans, and be on the internet to name a few.

Brad: What kind of advice can you give the aspiring solo acoustic guitarist?

Peppino D’Agostino: Listen to a variety of styles, study a lot of technique and make sure the mechanics of your technique are well understood; like right and left hand, tone production, etc. Find a very knowledgeable teacher to help guide you, and begin to compose and create your own music from the very early stages. This is how you will find your own voice and style.

Brad: What are some of the elements that you think make a great musician?

Peppino D’Agostino: I think having an understanding of how other instruments work and not just being confined to the guitar is a big part of it. Also, it is important to explore many different styles of music, and not just focus on one. When you do this you will learn so much about music, and learn many different approaches to improvising, structure, and harmony.

Brad: What does the future have in store for Peppino D’Agostino?

Peppino D’Agostino: I am going to keep on being thankful, practicing, writing and recording, and I want to put together a tour with a few guitarists of differing genres; very similar to the one I just did with Andy McKee and Eric Johnson. I am working on a book which is in the second draft of corrections, and hopefully there will be some new videos, and who knows where else this will all take me. I am just so happy to be doing what I love.

Peppino D'Agostino by Aleza D'Agostino

Peppino D’Agostino has to be one of the most remarkable solo acoustic guitar players on the scene today. Not only is his technique flawless, but his compositions are truly remarkable which helps to keep him ahead of his contemporaries. He has been working very hard to make a name for himself since the 1980’s when he decided to take his career a step further by moving from Italy to San Francisco. Since then he hasn’t looked back and has been enjoying a very successful career as a guitarist, composer and arranger.

Over the past twenty years, D’Agostino has reached critical acclaim, given concerts in North and South America, Canada, and Europe, has released eight solo albums, published three instructional DVD’s, composed a movie soundtrack, collaborated with some of the best musicians in the world, helped design his own signature series Seagull guitar, just to name a few accomplishments from a list that seems to grow by the day.

His technique draws from the classical guitar world being that his right hand is well trained, virtuosic, and he has excellent tone production; while his left hand is very accurate and executes his difficult music with precision and ease. His compositional style is amazing as he draws on elements from so many different genres. This quality makes his music not only beautiful, but exciting, original, fresh, and interesting.

D’Agostino is a guitarist and musician of the highest caliber and his music transcends so many different styles that it will be attractive to a very wide audience, not only guitar players.

Recently he caught up with Guitar International and gave us some insights on his approach to music, guitar playing, and more.

It’s hard to believe that it’s been over 40 years since the formation of the Scorpions, back when Rudolf and his brother Michael drove their rickety red VW bus from one small pub to another, from one back yard to another in their home state of Lower-Saxony to rock out. Fast forward to 2010 when the band announced to the world that it would be retiring…but not before releasing a new CD, Sting in the Tail and undertake a Farewell World Tour that will take them 3 years and circle the globe….a few times.

Now in 2012 before they embark on the final US tour, the band has released two essential new titles: Comeblack, a new CD of classic rock covers and fresh performances of signature repertoire recorded earlier this year, and Get Your Sting and Blackout – Live in 3D, an 11-camera 3-D concert film recorded in Saarbrucken, Germany on April 15, 2011 during their farewell tour.

I had the chance to speak with Rudolf about Comeblack and his passion for Flying V guitars.

Rudolf Schenker

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Robert: What was the band’s thinking behind redoing your classic hits on Comeblack, they truly do sound more powerful and sonically better?

Rudolf Schenker: The idea was to re-record 10 or 15 Scorpion songs but we changed direction to put half Scorpion and half cover songs that inspired us to play music. We thought the combination of our classics and covers would not only be great for new fans but they could also be used on video games. The new songs are now up to par on technological standards and the digital advances add the punch to the songs that give them their heart and soul.

Robert: You kept the integrity of the original versions and didn’t rework or tamper with them. Was it difficult to stay true to the original versions?

Rudof Schenker: I tell you there is a fine line when reworking songs. The fans are so into the old stuff and it’s a very dangerous situation when you change the structure too drastically. These are the songs we have played live for over 20 years and the fans like them the way they are. They go over well and we never felt that we had to change anything. There were a few things that we did adjusted because, Dieter Dierks our producer on the old LPs, wouldn’t let us fix since the record company was in a rush for them. In those instances, I felt as we gave the LP to the record company unfinished. So now that we had the time, we made a few of those adjustments.

After playing those songs thousands of times live, we’ve modified things only slightly compared to the original version. We wanted to freshen them up. For example “Blackout” and “Rhythm of Love” now sound fantastic. I felt never “Rhythm of Love” got to the point where I thought it was complete. After playing the songs so often, they are where we wanted the songs to be in the first place.

Robert: Sting in the Tail producers, Mikael Nord Andersson and Martin Hansen really found the heart and soul of the Scorpions on that CD. The band must have agreed as you decided to work with them again on Comeblack.

Rudolf Schenker: They are Scorpion fans in the first place. Mikael is very good guitar player and he offered a lot of good ideas on how to find the right riff for the right place in a song. Martin is the more technical guy who knows how to use technology to enhance our sound. So far we are very happy with them. Things are going great and it a lot of fun and easy to work with. I did my parts in my studio and Klaus did his vocal parts in his studio. We were very relaxed for these songs.

Rudolf Schenker

Robert: With so many great Scorpion songs in your catalogue how did you narrow down the selection to just eight? What were the criteria?

Rudolf Schenker: We asked our fans 4 to 5 years ago through our website what songs they wanted to hear live for the Unbreakable tour. From continent to continent there are some differences. For example, in America they have rock radio, so tend to like the rock songs. In Asia it’s more the softer type of songs. In those cases we know what the people want. The songs on the CD are actually the foam on the cappuccino, they please the most people.

Robert: What was the selection process for the cover songs?

Rudolf Schenker: We had picked about 20 to 25 songs possibilities that we were considering do, but had to work with Klaus to determine which ones he could sing best. The songs that are on the CD are the ones that were the best! In this case we didn’t make it too easy for him.

Robert: The Flying V guitar has been your trademark guitar for as long as I can remember. What is it about that style of guitar that speaks to you and makes you want to play it your entire career?

Rudolf Schenker: There is a funny story about me starting to play Flying Vs. It started with me going to a music store in Hamburg Germany with my brother Michael and seeing a poster of Johnny Winter playing a ‘68 Gibson Flying V. I went crazy for it!

My bother end up ordering a guitar that day and in four weeks the wrong guitar came in, it was the limited edition Flying V. He called me up and said come down right now to get this guitar.  I immediately took my Gibson and ran down to the store. I sold my Gibson to the store owner but it wasn’t enough. I didn’t have the money for the rest so the owner let me pay him off monthly and I got the guitar. That was my start into my Flying V passion.

Another story that’s even better. We had a big festival that we were playing in Hanover Germany and at the time Michael was playing with us. He called me and saying that his guitar is locked in his girlfriend’s apartment and can’t get it. I called friends all over Hanover to get him a guitar and we found him a Melody Maker. Unfortunately it had too much feedback and he couldn’t play it, so I gave him my Flying V and I played the Melody Maker. After the show he told me in the dressing room that he loved the guitar and he wasn’t going to give it back. I gave him the guitar because I love my brother. We couldn’t have two guys in the band playing Vs so I tried every guitar possible but wasn’t happy with anything so I ended up buying another Flying V.

Robert: You have an amazing collection of Flying Vs that you use on stage. I think my favorite was the red Ferrari V. Who built it?

Rudolf Schenker: The Ferrari guitar was built by Boris Dommenget as well as my Flying V acoustic guitar. The Ferrari V was originally built for Michael Schumachjer, the Formula One racing car driver. He was on his way to becoming a champion and were planning to present it to him in to him in Shanghai Japan while we were in the country for a concert. Needless to say that there was a bombing at an embassy in Japan and all our equipment had to be put into quarantine for 1 day and 1 night vs. just going through customs. We ended up missing the concert and wasn’t able to present the guitar to Michael.  I played the guitar for the next show and thought it sounded great so I kept t for myself. [Laughing] So in this case, the present for him was my present!

Rudolf Schenker

As a musician, you want to protect your guitar, whether you play as a hobby or support yourself by touring year-round. All instruments are valuable and cherished possessions, no matter if they were surprise finds at a pawn shop or custom-made for you.

When it comes to protecting your guitar, you have several options, including installing a home security system and purchasing insurance.

Home Security

An ADT security system can give you peace of mind when it comes to leaving behind instruments during a short-term absence, such as working a day job or stepping out to run errands. The protective measure is invaluable for safeguarding your property, especially if you’ve amassed a collection of instruments in your home and/or maintain a recording studio with expensive equipment that will also be costly to replace. Many systems also include alerts for fire and carbon monoxide leaks, which will preserve the life of your guitar.

Insurance

Insuring a guitar is paramount in the face of accidents, robbery, or human error. What can run you just a couple hundred dollars a year can aid in repairing or replacing a damaged or stolen guitar. Depending on the value of your instrument,  the cost of repair or replacement can easily creep into the high thousands. Ideally, you’ll never have to file a claim with the insurance company. All the same, protect yourself with a policy that will make heading out on tour less of a concern.

Off-Site Storage

You might consider off-site storage for guitars and other instruments you don’t play often. Separate storage space can come in handy for longer stays away from home, if you don’t have the room to house a number of instruments, if you don’t have renter’s insurance, or if you have unreliable roommates. You’ll want to purchase insurance to protect your instruments, unless the facility happens to provide it as part of a rental agreement. Store your guitars and know they can still be easily accessed when you’re ready to bring them out for practice or a reunion show.

Be Aware

Always keep an eye on your guitar and other equipment. You can be easily distracted during load-in or load-out at a show; thieves only need you to be vulnerable for a moment before they act. A good rule of thumb is to treat your guitar like cash, which is exactly what it will be once it’s sold to a pawn shop. Always be aware about where your instruments are and who is helping to pack them in or out, especially if you or your band have gained notoriety and your guitars are deemed even more valuable.

You don’t need to be Polly Paranoid in order to protect your guitar and equipment, but having insurance and a security system are two big steps towards making sure your guitar stays in your hands where it belongs. Be wise about where your instruments are stored and aware of fans with sticky fingers and you’ll happily be playing encores for years to come.

Gordon the Northern

Though you may not know her by name, you have probably heard her music at some point, especially if you are a fan of the X-Factor, in both the US and the UK. As well as having her music featured on the popular TV music contest, Charity Chapman has also been featured on such global hit shows as Oprah Winfrey as her songs have reached out of the screen to touch lives the world over. With a voice that mixes Sheryl Crow with a softer, more personal touch, Chapman’s short EP Gordon the Northern is a strong collection of singles that showcases her talents as a songwriter and performer, while introducing the world to the woman behind the songs that have been gracing the stages of X-Factor and other popular TV shows.

The three songs on the album are modern pop-influenced tracks that focus strongly on Chapman’s vocal and songwriting talents. “If I Could Fly” begins with piano and vocals setting up the laid-back mood of the song’s verses. Then, just when the listener feels comfortable on the relaxed groove, Chapman kicks it up a notch as she drives the music forward into the chorus.  Mandolins, drums and other backing instruments come together to lift the song’s intensity level, allowing Chapman’s lyrics to come to the forefront, which is further highlighted by the added backing vocals in key points of the melody line.

“Free” follows a similar progression in the arrangement, where piano and vocals are used in tandem to kick off the song’s intro. But, here, Chapman brings in a medium pop-groove in the verse as the drums act as the pads over which she floats her vocal lines. With bluesy piano lines added in at key points of the tune, and some incredibly beautiful vocal harmonies, this track is a strong effort for Chapman, as both a songwriter and performer, as it uses creative arranging devices to reach out and connect with the audience on both a musical and lyrical level.

The short EP finishes with “In My Room,” which follows that same sort of arrangement as the previous two tracks. The piano and vocals set up the intro, before the rest of the band joins in during the first chorus to build the track’s energy level, continuing to push the music forward towards its final climax as the music builds with each subsequent verse and chorus.

This is the only downside to the EP, is that the three tracks have a similar vibe to them in regards to their arrangements. But, what saves the record is the strong songwriting and performance given by Chapman and company. Instead of sounding monotonous or predictable, listeners are caught up in the creative nuances that separate each track and not the similarities in the arrangements. Overall, a well-written and performed collection of modern-pop tracks.

The Barns at Wolf Trap was abuzz with excitement as guitar lovers of all ages entered the rustic hall. As the sold out crowd settled into their seats and many a debate could be heard as good-natured points were argued as to the virtues of their favorite player and what they would be in store for as the evening would progress. As the house lights dimmed and the spotlights came up, all in attendance knew they were about to partake in an aural buffet with four masters serving up multiple musical courses intended to most certainly send them all home full.

Brian Gore

First to take the stage was Brian Gore, who actually created the concept of International Guitar Night in 1995. Often referred to as the “poet of guitar”, Gore did not disappoint as the precision of his distinctive fingerstyle technique took all who could hear on a musical journey through nature and reflections of time at home in the western parts of the United States and special times with his son.

Brian Gore

Adrian Legg

Gore was followed by Adrian Legg, who was voted “Best Fingerstyle Guitarist” 4 years in a row by Guitar Player magazine.  The London-native delighted the audience not only with his playing style, but also with his wit and unique story telling. His set was highlighted by a number he titled “Cajun Interlude,” which he said came from his “bad title period.” Legg had the audience in both amazement and hysterics throughout the evening.  It’s no wonder he is often heard as a commentator on NPR’s All Things Considered.

Adrian Legg

Lulo Reinhardt

A distinctive shift was in order as Germany’s Lulo Reinhardt brought his high energy, almost celebratory style to the stage. The new grandfather combined the enthusiasm and joy of a youngster with the years of experience that only a master such as he can possess. His gypsy like style with along with flamenco and even jazz-like flourishes and interludes created a unique sound the likes of none other. Lulo loves what he does and it was evident the crowd loved him.

Lulo Reinhardt

Marco Pereira

Marco Pereira would complete the soloist showcases, with a brilliant Brazilian flavor.  Between pieces Pereira, who was born in Sao Paulo, detailed his writing and playing style, into both of which he incorporates themes from his homeland’s folklore and sense of fantasy. His exquisite methods of musical expression may very well have left many spellbound.

Marco Pereira

All four masters would come together to close the first set, before a brief intermission, to later return with various combination and ensemble pieces. It’s obvious why International Guitar Night has grown and increased in stature over the last several years and is special evening not to be missed should they find their way to your town.

All Together

Hailing from Brazil, the US and Japan, it is understandable that pop singer and songwriter Haikaa understands diversity, both from a human and musical standpoint.  Her multi-cultural upbringing has allowed her to develop a strong understanding of the diverse nature of the modern world, as well as brought myriad influences into her songwriting and performance.  This unique personal and musical viewpoint is showcased o Haikaa latest album Work of Art, a collection of nine pop songs that go beyond the usual radio pop sounds in both their influence and performance.   The result is a well-written record that is both radio-friendly and a breath of fresh air at the same time.

Haikaa’s personalized musical style comes through in songs such “Everything I Know About Love.”  Here, hand drums are mixed behind a soft, palm-muted rhythm-guitar part, allowing the vocals to effortlessly float over the harmonic pad as more instruments enter one by one, building towards the powerful chorus.   By using hand drums, a variety of timbres in the guitar and, later on, male backing vocals during the chorus, the song is diverse enough to provide the listener with a valuable and interesting experience, while at the same time not straying too far from radio-friendly pop and losing the audience along the way.  This track, which is indicative of the rest of the album, brings to light Haikaa’s ability to write pop tunes that sound familiar and unique at the same time, allowing her music to appeal to a broad audience with diverse listening tastes.

Other tracks on the album, such as the up-tempo “Happy,” are toe-tappin’, get a crowd up on the dance floor songs that provide a window into the upbeat side of Haikaa’s artistic output.  The song’s harmonic progression is classic radio-pop, but one that goes beyond the normal I-IV-V that define the genre.  By going outside the normal harmonic expectations of the listener, Haikaa and her songwriting team are telling the audience that while the song is radio-friendly, they are not going to settle for the easy route, providing for an energetic track with harmony that twists and turns along the way.  This vibe can be felt on the acoustic-guitar led track “I’ll Wait.”  Here, the artist brings to mind the great acoustic-pop tunes of the late ‘80s and early ‘90s.   While the acoustic guitar has taken a backseat in the pop world in recent years, being replaced with keyboards and samples, Haikaa reminds listeners why this instrument has been a mainstay of the genre for decades.

While all of these tracks are well-written and creatively arranged, the album’s title track stands out as the record’s biggest highlight.  “Work of Art” begins with a single vocal line leading the listener into the medium-tempo pop groove that defines the rest of the song.  With multiple guitar parts weaving their way in and out of the mix, as well as many different vocal lines, all sung by Haikaa, coming to the forefront before fading and handing off the melody.   These layers of both instruments and vocals add extra textures to the song’s harmony and melody, providing for an ever changing flux of timbres and instrumental combinations that lifts the song to the next level of interest and audience engagement.  This is a classic pop track that is not only expertly written and recorded, but also goes a long way in setting the overall tone for the lyrical and musical content of the rest of the album.

Overall, Work of Art is a fun pop record that is filled with positive lyrics and creatively written music.  By bringing her diverse background and musical influences to the table, Haikaa has produced an easy to love pop record that is both familiar and fresh at the same time.

Being a huge fan of action flick heroes Jason Statham, Jean Claude Van Damme, and Jet Li, I can’t say how excited I am that Director Steven Soderbergh has made this remarkable motion picture showcasing and built around a real life female action heroine who does all her own fighting and stunts.

After Soderbergh caught wind of real life, women’s mixed martial arts champion and radiant beauty, Gina Carano, Soderbergh was so impressed with Carano’s ability to “break you in half” as he told “Sports Illustrated Magazine”, that he and screenplay writer Lem Dobbs whipped up this sinfully delicious, spectacularly over the top, espionage soufflé, solely to showcase the incredible Carano.

Carano who also previously worked on TV’s “American Gladiators” more than easily holds her own with the big screen bad boys, as she handily dispatches and beats the living daylights out of them with the fluidly choreographed precision, prowess, and power of a graceful, yet ever so deadly, vicious panther.

Carano plays former Marine, covert Special Operative, Mallory Kane. The film opens with a stunningly brutal brawl in a small roadside diner between Kane and Aaron, (the always wonderful and much underrated Channing Tatum), a contact liaison sent to meet her on behalf of an as yet, undisclosed, higher up. Mallory proceeds to makes light work of Aaron. She then escapes with the help of a customer named Scott in his car, and as they drive, Mallory relates to Scott (Michael Angarano), through a series of flashbacks staged across the globe in lush, international locales including Barcelona, Dublin, and New York, that she has been set up in a mission gone terribly wrong, double crossed by her “employer”, Kenneth, (portrayed with oozing smarmy slime by the outstanding Ewan McGregor).

For “Haywire”, Soderbergh called on some of his most stellar, A-List acting colleagues to generously support Carano and shower their spotlight of star power on the budding newcomer actress to great effect.

A formidable Hollywood ensemble constellation of actors comprised of Michael Fassbender, Tatum, McGregor, Michael Douglas, and Antonio Banderas, all who are supreme, round out the duplicitous government contractors and agents who concoct a tangled web of deceit, murder, and cover ups that all lead to and erroneously point at Mallory.

As they mistakenly think that Kane will easily take the fall and be readily erased, instead she turns rogue and into an unstoppable, relentless force of strategic counterplay, stealth, and destruction, determined to find out who has betrayed her and to clear her good name. Pity the killer who takes on Mallory Kane. Armed with intelligence, strategic force and ferocity, and a death grip via the most lethal legs in cinema (a la a real life version of James Bond’s Xenia

Onatopp – google this!), Mallory leaves a trail of crumpled bodies in her wake.

Light on dialogue, wisely letting Carano’s feral physicality, fisticuffs, and acrobatics do the talking, and heavy on the hard hitting action, Soderbergh makes deft use of composer David Holmes’ sizzling, whip cracking score to authentically and compellingly voice much of the film.

Holmes, who first worked with Soderbergh, scoring 1998’s “Out Of Sight”, has enjoyed a particularly creative, ongoing professional relationship with the Director, with the two regularly collaborating together on several films, including 2001’s “Ocean’s Eleven” rat pack film remake and both of its sequels, “Ocean’s Twelve” and “Ocean’s Thirteen”.

The talented, Irish born film composer started out DJing in Ireland’s club scene, later running the two seminal night clubs Sugar Sweet and Shake Yer Brain in the Belfast Art College, and since 2009 Holmes has been running the South Belfast club, The Menagerie. Holmes earned his cred soaking up the pulsating backbeats and many diverse, multi-colored music textures that have flooded through the clubs, and on “Haywire”, he acquits himself superbly with this sparkling, effervescent score.

Holmes’ uniquely distinctive, stylish, uber chic, sophisticated score, spurs, paces, and all but narrates several extended key action sequences, often becoming the second most integral character in this smart and savvy film.

One particularly mesmerizing motif, Homes’ enthralling musical accompaniment set to a breathtaking chase scene in Dublin as a Swat Team pursues Mallory as she runs across the building rooftops, is just dazzling.

Holmes’ vividly colors his sonic orchestrations with a palette of stinging, tuned down, reverbed, twangy jazz guitars, chunky, dissonant percussion, and a cacophonous traffic jam of hepcat brass and horns. Then Holmes generously drenches his savory buffet of jazzy soundscapes in a river of funked up, thumping, full bottomed grooves voiced on wonderfully fat and flavorful bass guitar.

Interspersed throughout Holmes’ dynamic score are gently percolating, melodic keyboard phrasings, Mallory’s theme if you will, just to remind us who the real star of this show is.

Holmes has a real gift at recreating the evocative cool jazz influenced aural landscapes that hark back to the landmark 1960’s spy films of the cold war era conjuring up the sonic imagery and influential film scores of “The Spy Who Came In From The Cold”, “Torn Curtain”, and of course, “James Bond”, with its legendary theme by Monty Norman.

Ultra cool and hip, imbued with luscious acid house, lounge jazz stylings, crafted with a flair, finesse, and panache worthy of “Haywire’s” main character, Holmes’ scintillating arrangements, spot on retro feel, and fabulously versed musical narrative, hold and drive the suspense, tension, and excitement of this action spectacular vehicle, sure to make a star out of the luminous Carano.

A stronger and less convoluted storyline, script, and character development could have made “Haywire” even more delectable. But the gorgeous Carano in her first time starring on the silver screen is more than amazing, a fierce, charismatic actress who has the “woman-chismo” thang so going on and is an undeniable force to be reckoned with. An action heroine who can rightfully take her place among such kickass female action film icons as Angelina Jolie’s Laura Croft and Diana Rigg’s Mrs. Peel of “The Avengers”.

Bravo to Soderbergh and Dobbs for crafting a luminescent, action movie, female role model that is strong, resilient, and intelligent.

Gina Carano, in her debut and breakthrough film performance, makes “Haywire” all her own in this phenomenal spy and action adventure tour de force, making her more than worthy of the title, titan and tigress of action movies. Beautiful, bold, and oh so badass to the core.

© Copyright January 24, 2012 By Arlene R. Weiss-All Rights Reserved