***** Bridge Across Forever by Transatlantic - Unbelievably Awesome!!! Never a Dull Moment!!!

This album remains among the somewhat hidden treasures of today’s musicians. I love a good secret, as long as nobody gets harmed in the process.

If this album had been cut when the Baby Boomers were young, I predict that this band would be filling stadiums. Transatlantic is better than The Who, or The Rolling Stones, and might be considered on the elevated level of a timeless band like Led Zeppelin, or Jimi Hendrix. I love that though. It would be a shame if Transatlantic filled stadiums full of beer drinkers throwing up and doing drugs. Transatlantic is a lot like Phish. However, fans of Phish are almost always drug users as well as music aficionados. If you listen to Transatlantic, then you will probably find that drugs are not cool at all by this band.

The songs on this album are too long to make it readily accessible by the regular America crew. I would definitely opt to see Transatlantic live though for that reason. It is really good music that would only attract an intimate audience. Most people just can’t stand for songs that are long, but I can assure you that though these songs are long, there is never a dull moment.

Bridge Across Forever is even better than Transatlantic’s first album, “SMPTe,” and I give both albums a 5 star rating. I don’t just hand out 5 star ratings like most people. If an album gets 5 star rating from me, then that means something.

So who is this album not for? I would have to say the masses of teenagers, and frat boy college students, that are merely looking to fit in because they feel uncomfortable listening to anything except something that has promotion, and national attention that only major label records can afford. As Rush says in their very famous song Subdivisions, its “Be cool or be cast out,” and I would figure that a Rush fan would dig this, but not someone who listens to Rush only when they are on the radio. If you seek Rush, then I hope you find Transatlantic.

I like this album because at times it is very jazzy, and then at other times it is very rigidly written. Also, unlike many albums I like this album sounds beautiful in the way that level headed person would perceive. It is an album where the musicians have taste, and it is not so difficult to play that compression dominates the sound.

This is moderately complex music though this is prog rock. It is not musicians showing off their chops. Every note has its place, and though there is jamming there isn’t a single superfluous note on the entire album! There are very few albums I could give such high praise to. However, when this was released it could still be said that usually if a Dream Theater member is on an album, or in this case a former Dream Theater member, then there is no filler on the album.

**** Live at Budokan by Dream Theater – Spotty. Buy It If You Are A Fanatic. Skip It If You Are Not.

This was my first indication that the album 6 Degrees of Inner Turbulence was not a total loss. Score proved that without a doubt, and so did 4 Degrees of Radio Edits. Score is a 5 by any standard, and those that criticize are not correct, they are wrong, but that is not this album.

Now, I know that I am in the minority, as most fans loved 6 Degrees of Inner Turbulence. My major criticism of that album, 6 Degrees of Inner Turbulence, is that the songs on it are too repetitious. For some reason on Live at Budokan, songs from that album don’t bother me as much.

There are definitely some tracks on this one that are not as good as they could have been. If they took Live at Budokan into the studio, and worked some magic, I might have loved this album. For example, “In the Name of God,” has an absolutely incredible guitar solo, but LaBrie is a little lacking on that song, and there are a few times when it sounds like the show nearly falls apart given a little improvisation. That is how this album goes. Usually, it is not perfect like a studio album, and Dream Theater is the type of band that needs to sounds perfect, or else they sound like they are playing under their own ability levels!

Sometimes Jordan’s keyboard sounds cheesy, sometimes John Petrucci’s guitar sounds cheesy, James LaBrie’s voice sometimes sounds awesome, other times it needs some help, and the bass is almost non-existent. Mike Portnoy comes across very well.

This is not an essential Dream Theater album IMHO. With Dream Theater, you can expect to hear flawlessness, especially with their studio albums, but as usual, and with Live at Budokan, the live albums Dream Theater releases are spotty.

**** Scenario by Al di Meola – Good Music During the Techno Jazz Fusion Period

This album can definitely stand as a marker in time and that is why it is 4 stars and not 3. The techno sounds that where incorporated with the music now sounds like the music that comes out of children’s toys, or primitive video games. Seriously, I could totally bet some of this music could be swapped for something on the NES (original Nintendo Entertainment System) and I doubt anyone would notice a difference in quality.

So yes, this dates back to early attempts to fuse techno with music. However, this effort though it does have some good songs, really only serves as a relic, such that people can point to it and say, “That is what music used to sound like.” These particular sounds used on this album have largely vanished from good music because they seem to lack the overtones that come with actually playing a wooden guitar without some effacing sound for example. To put it bluntly: The sounds on Scenario are too cheesy!

Also, though this music is dated, Al di Meola’s performance on it is often quite good. It is the other stuff, such as the processors, even the guitar processors, that subtract from the goodness of Scenario. It is a good album, but you have to put up with primitive techno that sounds like something out of Super Mario Brothers, and that is why it loses a star.

**** Spontaneous Combustion by the Liquid Trio Experiment – Mixes Well With Modern Jazz Fusion

I can totally see someone getting this album and being completely disappointed with it.  Unlike the Liquid Tension Experiment album, on these songs the musicians are just jamming away.  Seriously, this stuff is like hit the record button and run to your instrument as fast as possible and join the jam.  I have to wonder if this one sounds at all like John Myung’s Jelly Jam, because this jam is quite gelatinous.   

That this project was seemingly going nowhere is the reason why Mike Portnoy called up John Petrucci to join the jam (I think as legend has it), and at that point the Liquid Trio Experiment became the very famous Liquid Tension Experiment.

I know that the album is called Spontaneous Combustion, and looking back on it, that was probably a warning that this experiment wasn’t going to work out like Transatlantic, or Office of Strategic Influence, as far as having song hooks goes.  Spontaneous Combustion lacks the hook that would catch a fish.  However, this is darned good music, and that is how I came to look at this one in retrospective.  That is as the jazz content of my cd player increased, suddenly, the Liquid Trio Experiment’s Spontaneous Combustion album was mixing well with Wes Montgomery, Niacin, King Crimson, John Scofield, Bill Frisell, and so many others.

Don’t mix this one in with a mix of heavy or light song structures that are very ridged.  This one won’t mix in that well, and it is a 4 star album rather than a 5 star album because this one can’t take the spotlight on its own, unless it is all by itself.

Bottom line, this really is a great album.  It is not for everybody by a long shot.  However, if you are a fan of progressive rock jazz fusion moderately aggressive jamming, then this one should fit the bill well!

***** Metanoia by Porcupine Tree – Top Notch Rock Jazz Fusion That Is Not for Everyone

Lol. I was reading on the internet that this album, Metanoia, has been called the opposite of Stupid Dream, but every bit as good. That is so accurate! Why they didn’t release it first as a regular Porcupine Tree album is beyond me…well sort of…this music is great, but it doesn’t sound at all like Stupid Dream, which is often called Porcupine Tree’s best cd, especially by those that don’t commonly listen to progressive rock.

Stupid Dream does not lend itself very well to jazz blending. Stupid Dream’s songs are written seemingly to catapult the band to the fame of bands like Rush. Rush is one of those bands that plays a song again, and again, and again, until they get it correct, and then the song is played exactly the same way for the rest of all time.

Also, if you are looking for something with lyrics, then this one will fail you.

If you want to know how good jazz fusion can get, I highly recommend this album. This is like the sound Miles Davis was trying to achieve in his later years. In fact, Metanoia reminds me a little of the Miles Davis album Bitch’s Brew, except in my opinion Metanoia is better.

Metanoia has some fantastic jams. You just have to give it a chance though. If you don’t like this one on first listen, I completely understand. However, if you walk away from this album with a negative opinion of it, I judge that you are not a fan of good music. If you don’t like Metanoia, go listen to it when you drink or something, as for me I like this one sober.

***** The Best of by Earl Klugh by Earl Klugh – Really Good If Smooth Jazz Is Your Thing

If smooth jazz is not your thing, then this one is not for you.  End of story.  Don’t argue with me.  I don’t want to hear it.  This is the rating.  This is as good as it gets for the smooth jazz genre.  This belongs right next to Kenny G, a musician who has been tremendously popular, so far as jazz is concerned.  It is very likely that if you have heard of Kenny G, then you may or may not have heard of Earl Klugh.  Earl Klugh never achieved the popularity of Kenny G, and by many people’s standards Kenny G is fairly obscure.  I rate Earl Klugh higher than someone like Kenny G because he is obscure.  I root for the underdog even though this is genre is not my particular taste.

Most jazz musicians will admit that they didn’t get in to music to play on their instruments in that way that they could just totally fall into the background at a party, and nobody would really notice the musicians there, but that the party goes on as the ladies sip Zinfandel, Riesling, or some other dessert wine, while cracking into some lobsters and getting a tan in the evening sun at an expensive restaurant or beach house.  That is the niche of the Earl Klugh band.  Primarily, that is what this disc consists of; music that is semi-sophisticated background music.

I am pretty sure that this is the only smooth jazz cd in my collection.  I purchased it because I wanted to know what Earl Klugh sounded like as I am a guitarist, and I play and listen to jazz.  I’ll take a chance on most any artist.  In my opinion, though I don’t think all jazz is good, I do believe some of it is better than others.  This just happens accomplish its goal.  It mixed in well with my 100 disc changer for the time that I had it in the mix, but now it is time to move on.

While I won’t say this cd lacks chops at all, he is not playing as fast as Yngwie Malmsteen and for some people that is a good thing and for others it is not.  I would venture to say that most folk would think that this is a good thing.  However, I just think that it is a thing, and that it is what it is, nothing more, and nothing less.  

**** Listen By Jordan Rudess – Excellent, But Not Jordan’s Best

If you like Marillion, then chances are that you will like “Listen” by Jordan Rudess. My guess would be that if you have heard of and listened to Marillion before looking for this more obscure work, as it is his first album, predating his more famous work with Dream Theater, but times are a changin’, and Jordan Rudess has achieved super star popularity in the band Dream Theater, far more popularity than Marillion ever had.

If you are looking for something that reminds you of Dream Theater, while this music is still quite technical, I would have to urge you to look somewhere else. This album has hardly any resemblance to Dream Theater. If you are interested in collecting all of Dream Theater’s and their members solo projects, then this one might be a good one to own in the way that James LaBrie’s Winter Rose is worth owning (both of these pre Dream Theater efforts are really good.) I do have to admit, though the rest of the band does not remind me of Dream Theater at all, by the time Jordan produced Listen, a good deal of his technical style, which so far as I know was uniquely developed by him is possibly a result to the musical doors that had been unlocked to him through keyboard technology. Some people find this technical stuff, sounds that only could be produced by a keyboard played with what seems like high precision randomness to be annoying, others, like me, love it.

This album is not a 5 star work though. It is not an essential album in any way. It is the music of a serious young musician, someone well on the path toward being virtuoso, if not even a virtuoso by this album. I can’t quite put my finger on why this work falls short of 5 stars from a technical point of view. Dare I say that it is the song craft that makes this a 4 star album; I think so. That’s it. If you believe this is a 5 star album, I understand if you disagree with me, however.

***** …And Justice for All by Metallica – Trailblazing Metal Innovation

I think I was in 4th grade when this album was released. I vaguely remember that Metallica had been nominated for a Grammy or some other award, and that at the show they were to perform a song. However, I don’t remember much more than that.

Metallica was really just starting to gain in popularity with this one. This was when they still had something to prove. In my opinion, they proved themselves to world fully with the black album. After that, there was nothing left to say. Load and Reload where after the fact, superfluous and not necessary. Over Metallica’s first 5 albums they proved they play beyond a reasonable doubt. They proved that their names belonged to the ranks of musicians that have influenced the world in the same way Beethoven has, even though there are bands that are better than Metallica.

S&M was a silly little ditty, though that is generally considered to have bridged the gap between metal and classical music, I, personally, find that idea hilarious. If you are a classical musician, and can’t hear the talent on Metallica’s early albums like this one, then I would question your credentials.

First, and foremost, if you don’t like most metal, I might suggest that you give this album a try. It is really one of those albums that almost anyone should be able to appreciate. For example, try listening to the song, “One.” You shouldn’t need any help from a lyric sheet. Sure the vocals do have some rasp, but only to the extent of adding flavor in a tasteful way.

***** Emergent by Gordian Knot – Obscure But Awesome

It should be no surprise that this album is tremendous.  Look at the names of the players.  They are the names most progressive rockers should know.  For example, Jim Matheos (Fates Warning, OSI) plays on this one.  If you want a really good album by him, pick up either this one (Emergent) or Office of Strategic Influence by OSI.  Fates Warning also has some darned good albums.  Also, I recognize the name Bill Bruford, a guru on his instrument, (King Crimson) who plays on Emergent.

Apparently this incarnation of Gordian Knot has all the original members of Cynic.  I remember listening to Cynic at college and not finding the music to be that great.  However, my tastes have changed radically since college, so that doesn’t mean anything.  Cynic was at one time considered one of the best progressive heavy metal bands, along with bands like Fates Warning.  However, over time so far as I know Cynic has fallen into obscurity.  I never hear anyone talking about the new Cynic album, or if Cynic is going on tour.
Really, it is a shame that Gordian Knot’s Emergent didn’t take off.  To date the band has 2 albums, the first of which had John Myung on it.  Apparently, John Myung’s name was not enough to carry this band to a level where they might play small clubs.  Gordian Knot is essentially unknown.  The world is upside down.  Most musicians in popular bands deserve to bow before these musicians.

What’s In My 100 Disc Changer 2014: Good Stuff in Time for Day After Thanksgiving Christmas Shopping!

Firstly, I may have reviewed a few of these albums already, elsewhere. I find that occasionally, and by accident, I review an album twice, but often both reviews are very similar.  However, the vast majority of these albums are in my 100 disc changer because I plan to review them someday, and of course because I love to listen to them.

These albums are that which is in my player. I can vouch for this: I have already listened to some of each of these albums and each does seem to be quite good.

To be less confusing to those who might be interested in purchasing any of these albums, only the name of the album is given, and not disc 1 or disc 2, even if each separate disc has a name, such that I don’t arrive at the number 100 in the list, as labeling which disc is in my player for multi-disc sets, especially when they aren’t even near each other in the player, is of no assistance to a potential buyer. For instance, with Steven Wilson, though both Grace for Drowning cds are in the player; I do not label each of the Grace for Drowning cds that are in the player, meaning that there is only one entry for Grace for Drowning though the set has 2 discs.

1. Dregs of Earth and What If by the Dixie Dregs

2. Grace for Drowning by Steven Wilson

3. In Absentia by Porcupine Tree

4. Free Fall and Unsung Heroes by the Dixie Dregs

5. The Wake of Magellan and The Dungeons Are Calling by Savatage

6. Live at Birdland by John Coltrane

7. Back in the World of Adventures by The Flower Kings

8. Spontaneous Combustion by The Liquid Trio Experiment

9. Soul Sirkus

10. Kings of Damnation Era by Black Label Society

11. Without a Net by the Grateful Dead

12. Metatonia by Porcupine Tree

13. Self-titled by Niacin

14. III Sides to Every Story by Extreme

15. …And Justice For All by Metallica

16. Emergent by Gordian Knot

17. United Abominations by Megadeth

18. Stardust We Are by the Flower Kings

19. The Ritual by Testament

20. Bridge Across Forever by Transatlantic

21. Individual Thought Patterns by Death

22. Live at Budokan by Dream Theater

23. The Kindness of Strangers by Spock’s Beard

24. Drukqs by Aphex Twin

25. The Odyssey by Symphony X

26. Machine Head by Deep Purple

27. The Raven That Refused to Sing and other stories by Steven Wilson

28. Listen by Jordan Rudess

29. Start Today by The Gorilla Biscuits

30. The Essential Frank Sinatra: The Columbia Years

31. The End of Silence by Rollins Band

32. Doin’ Something by Soulive

33. Effigy of the Forgotten by Suffocation

34. Toxicity by System of a Down

35. Scenario by Al di Meola

36. Led Zeppelin and Tony MacAlpine mix cd

37. Aenima by Tool

38. Fire Garden by Steve Vai

39. Surfing With The Alien by Joe Satriani

40. Secret Story by Pat Metheny

41. Retrospective by Django Reinhardt

42. Deadwing by Porcupine Tree

43. Here In the Now Frontier by Queensryche

44. Full House by Wes Montgomery

45. Fear of a Blank Planet by Porcupine Tree

46. The Vibe by Roy Hargrove

47. Empyrean Isles by Herbie Hancock

48. Up All Night by John Scofield

49. Greatest by Bee Gees

50. Lightbulb Sun by Porcupine Tree

51. Amazing Journey w/Mike Portnoy

52. The Rainmaker by The Flower Kings

53. Coma Divine by Porcupine Tree

54. The Guitar Artistry of Charlie Byrd by Charlie Byrd

55. The Uplift Mofo Party Plan and The Abbey Road EP by the Red Hot Chili Peppers

56. The Blue Note Years: The Best of Kenny Burrell by Kenny Burrell

57. Transgression by Fear Factory

58. Impressions by John Coltrane

59. Birds of Fire by The Mahavishnu Orchestra

60. Coast to Coast and High Tension Wires by Steve Morse

61. Industry Standard and Full Circle by the Dixie Dregs

62. Retropolis by The Flower Kings

63. The Best of Earl Klugh by Earl Klugh

64. First Meditations by John Coltrane

65. Virtuoso #2 by Joe Pass

66. Space Revolver by The Flower Kings

67. Super Hit by Ted Nugent

68. Eat a Peach by Phish

69. II Pornograffitti by Extreme

70. Like Minds by Chick Corea, Gary Burton, Pat Metheny, Roy Haynes, and Dave Holland

71. School Days by Stanley Clarke

72. Youthenasia by Megadeth

73. Coda by Led Zeppelin

74. Vulgar Display of Power by Pantera

75. Midnight Blue by Kenny Burrell

76. Gretchen Goes to Nebraska by King’s X

77. Ok Computer by Radiohead

78. Greatest Hits by Stevie Ray Vaughn and Double Trouble

79. Freaky Styley and The Abbey Road EP by the Red Hot Chili Peppers

80. Born This Way by Lady Gaga

81. Fusion by Wes Montgomery

82. Shadows Fall

83. What Did He Say? by Victor Wooten

84. Live by Bill Frisell

85. A Dramatic Turn of Events by Dream Theater

86. Pork Soda by Primus

87. Twilight in Olympus by Symphony X

88. Sex and Religion by Steve Vai

89. Notes on a Dream by Jordan Rudess

90. Pick Hits Live by John Scofield

91. Surrealistic Madness by Candiria

92. Enter Suicide Angles and Character by Dark Tranquility

***** My Favorite Things by John Coltrane – Tasteful Excellence for Anyone and Everyone

My Favorite Things gets my highest recommendation. It is a timeless classic. You could pull this cd out 1,000 years or more later, and this cd would still be cherished by listeners, both tone deaf and those with perfect pitch, and everyone in between. From start to finish, everything about My Favorite Things, the compact disc, remade from the original, is every bit as worthy of cherishing. If someone said, “I’m interested in jazz. Where should I start?” This would be one of probably the top 10 cds I would recommend.  I would say, “If you are looking for jazz, My Favorite Things won’t let you down, and if it does then you might consider yourself as some sort of new species, other than human.”

I actually purchased this disc a long time ago, back when I was at college and in my John Coltrane phase. That would be roughly the year 2001. That disc, the original, got scratched. However, I had burned a copy of it for the car, and that disc, the one I am reviewing, has no scratches. The original got tossed in the trash. That brings me to an important issue. The issue of duplicating cds, which I believe is completely okay to do in the same way people duplicated cassette tapes back in the day. Having a back up is an important thing! I currently have at least one cd in my 100 disc changer that can’t be duplicated for whatever reason, such that if I try to burn a copy, computer won’t comply. If that had been the case with My Favorite Things by John Coltrane, I wouldn’t have been able to have even a copy to write a review, all these years later, because the original would have been scratched. That’s just food for thought, and really almost aside from the review of this cd.

This disc is definitely one of my favorites by Coltrane tied with discs such as, Giant Steps, that are among my favorite discs. This disc is among my favorite things. I love music, and My Favorite Things is a sonic jazz treasure. However, it didn’t spend that much time in my 100 disc changer this time, not because I don’t like it anymore, but because I have much of it memorized. I don’t like to listen to the same thing over and over, and I tend to favor music that does not have a lot of repetition, as I could definitely say I am not sick of this disc. It is just to say that it is time to move one.

Much if not all of this music is in the Real Book. Honestly, I can’t quite remember if everything from this disc made it in. I often overlook the local jazz musicians, who have not composed their own music, and continually play the same stuff from the “Real Books,” as opposed to Fake Books, where it is thought that what makes a Fake Book, “fake,” is that somehow the original has been perverted just a little bit, such that copyright infringement has not occurred.

When it comes to jazz, there is no danger in writing a Real Book, because of the nature of jazz. Jazz is not supposed to be played the same way, and also to argue before a tone deaf jury of tone deaf walkers that the Real Book was indeed copyright infringement would probably be impossible, as there is just simply not enough information about the songs in the Real Books, because it is jazz, that one could arrive at the original completely through just copying the music.

Jazz is a music that by nature must have improvisation. The Real Book provides what is called the “head,” of the song, which is sort of like the theme of the song, almost like a chorus, though perhaps it is only played only once, twice, or thrice during a song.

**** I Care Because You Do by Aphex Twin – As With All His Works; You Love It or Hate It

Firstly, I like artsy fartsy music, so it should come to no surprise to the reader that I really like this cd.  Every song is weird in its own strange way.  Be prepared for some very unusual music if you should buy this cd.  Mostly, I like this though because it is music.  As far as I know, in the techno genre Aphex Twin was the original artist that tried to make music via computer that was also skillful and thought provoking, appealing to college students, and even geeks like me that don’t like any other techno artist.  Maybe there are other good techno artists by now, but Aphex is the original, and probably the best.  The reason I don’t give this 5 stars is that I don’t believe that it is timeless.  Computer technology will likely evolve and I Care Because You Do will probably become dated, in favor of better written music.  Though I love them, these songs just aren’t 5 star quality.

*** Greatest Hits: Back to the Start by Megadeth – Just Okay Because Some of Remakes Are Sub-Par

Let me tell you something. I have been a fan of Megadeth for a heck of a long time. One of the first compact discs I ever got was Countdown to Extinction back when it was brand new in 1993. That was back when compact discs used to come with extra cardboard paper packaging artwork. I put my picture of Vic in my Trapper Keeper notebook, as a proud statement that I was a fan of Megadeth, who for most of my life I have thought are one of the coolest bands on earth. I have seen Megadeth live twice. Really, Megadeth is one of my favorite bands of all time, along with Dream Theater. I even loved Killing Is My Business and Business Is Good.

So, by now you must be wondering, where did Megadeth go wrong on “Back to the Start?” That answer is entirely in the mix. I loved all the original mixes, and I detect that in this remake they tried to make the album sound better through doing a tad of things such as adding the effect, compression. I hate compression, probably, because it seems as if everyone uses it these days. Sure, the kids probably won’t know the difference, and maybe even will like it better, but Dave you’ve got to admit that you sold your soul to the devil on this one.

Of course, some of the tracks that were originally released with compression like Skin O’ My Teeth rock hard. It is just that I don’t like the touch ups on what I considered to be the old classic Megadeth albums. They didn’t need touch ups.

Additionally, while I don’t like this record mixed in with other discs, as I crave the original sound not the remix, as a whole the album mixes better with the touch ups. For example, Hanger 18 sounds hideous in this collection. Megadeth has been around for so long that technologies have changed, some for good, some for bad. What this means is that when listening to a bunch of music the technology on each album usually varies, and this hits package seems to try to overcome that, and it does so with a moderate amount of success.

**** Greatest Hit (...and 21 other pretty cool songs) by Dream Theater – Great for Fans of Mellow DT

Though I would give most every Dream Theater album 5 stars, it always seemed that on every album there was one song that stuck out like a sore thumb. These songs where often released as singles for some reason, as they never gave the band any popularity.

Most of Dream Theater’s fans like it complex, heavy, and fast. Most of the songs on songs on this album have a modest amount of complexity, but no heaviness or speed, and when I say heaviness I mean strictly slammin’ riffs, and not emotional heaviness, as one could perhaps conclude that these songs are in fact heavier than the others, according to personal taste.

Prior to this album, however, these songs were not among my favorites by DT. In fact, they were my least favorite prior, as I liked the more complex and heavy side of Dream Theater. However, the mix on these songs sounds like they have been redone, rerecorded, and that the general quality of the music was increased.

What I can say for this album is that in an amazingly coherent and well put together way, these kinds of songs on the albums that seemed as loners fit together very well. And, frankly I was surprised at this, but Dream Theater usually does surprise me. I was surprised because when I heard that when Dream Theater said that they were going to come out with a greatest hit like package, I had no clue what that would consist of, as to me every song on most every album belonged in that a package.

Also, it is worthy to note that finally the song, “To Live Forever,” made its way onto a major album, as prior to this release it had been kicked around and reworked several times on bootlegs prior to this release.

**** Friday Night in San Francisco by Al di Meola, John McLaughlin and Paco de Lucia – An Amazing Album That Suffers from A Bad Moment

A really bad moment on track 2 stole the show, literally.  For the most part the audience is into it, but the audience cheers the loudest during the most simple part of the cd, a mere 12 bar blues without any solo.  If I could merely edit out that part, then this album would rate a 6 out 5 possible stars.  Really though, this album doesn’t have enough tracks on it to keep something on track 2 that only a loser would like.

That makes me think two things about this album.  The first is that, maybe this audience was so trashed and drunk that they couldn’t tell what parts of the music were good.  The second is that, maybe this audience is completely tone deaf like most Americans are.  America is terrible at educating most of its high school students in the arts.  The result is that people act like parrots, such that when someone with credentials from the Baby Boomer Generation recommends something they listen, but the problem is that they don’t appreciate it.  Most of America even at the college level doesn’t know the difference between major and minor, and that is pathetic.  Take it from me.  I stopped listening to popular music in 8^th grade in favor of stuff that usually took more skill to play, though I do admit listening to Nirvana.

Other than that, this Saturday Night in San Francisco is magnificent.  It is a rare moment in history: A summit of the best known flamenco guitarists that may very well have been the best in the world when this album was cut.  These days often times it doesn’t matter how good you are.  You could be unknown and the best guitar player in the world at the same time.  I know of no other album that blends the skills of guitar in this style as well as this one.

Audience aside, it is a true gem, but it is a gem with a giant blemish.  Imagine a huge diamond that at its center has a colossal malformation.  That malformation is the audience cheering its loudest on the entire cd for the part that is the worst, and most contrived deformity, and should be thought of as an embarrassment to musicians everywhere.

The best track on this album is track 3.  I haven’t heard the song elsewhere, and so it is extra special in comparison to the other songs which if I recall correctly I was already well familiar with them before this live disc.

** Strange Brew: The Very Best of Cream by Cream Polydor – I Hate Eric Clapton’s Popularity. He Is So Overrated.

At best in modernity, this album should be considered as a really good demo.

That I am rating a greatest hits package by Cream as three stars should speak volumes for what a regular Cream album would be rated.

Firstly, I would have rated this album, The Very Best of Cream, three stars had it not been for the aged and out of date technology that it was recorded on.  If this album came out today it would probably never have gotten beyond the stage of being a Demo.  That is in today’s musical world, Cream might not have even got signed with a record deal.

The first song, Badge, is the best.  It isn’t half bad.  I like it.

Sunshine of Your Love is one that people seem to think absolutely grand, but if you ask me it is a terrible flop.  I can’t believe anyone bothered to listen to this, the pathetic guitar music of Eric Clapton.  The popularity and not only that, but also that people thought Eric Clapton was a good guitarist is only to my bane.  Don’t buy it.  Don’t buy that Eric Clapton is anything but a slightly above average guitarist.  The problem is not many people are above average people, such that they appreciate this musical junk.

The White Room with Black Curtains is only slightly good enough to be slightly better than annoying.  Again, the next song, Born under a Bad Sign, is only slightly better than annoying.  Thus, it is such for the entire album, most of the songs are usually only slightly better than annoying.  There is nothing on here that I don’t think a slightly better than average band struggling to put food on the table couldn’t write or play.  There is no genius to The Very Best of Cream.

Really, this is an album and a band that should be put to rest, if for no other reason than for poor sound quality.  I know that they were influential to some bands, but those bands were probably terrible.   Eric Clapton is perhaps the most overrated guitarist ever, right up there with Stevie Ray Vaughn.

8th Hopping Wires: Root, flat 2, flat 6, 2, and in 4s

Note1:  When making the lesson name, the numbering system used reflects each note of the system with respect to the major scale, where “1,” is the root note of the Ionian Major scale, and all Ionian notes are considered to be major, instead of flat or sharp.  Thus, a lesson may be of a different scalar mode, but that will be disregarded in favor of Ionian labeling, such that though the Ionian major scale has no minor 3^rd, sometimes called “no flat 3,” if there a flat 3 in the lesson, this flat 3 will be labeled as such where major 3 is just simply 3.  For example in the key of G, the note C is the major third.  Here, G would be Root, and C would be 3.  And, if a B flat is used, I would call B flat a flat 3 where 1, the root, is the note G.

Note2:  These notes can be played on strings 1 and 2, 2 and 3, 3 and 4, and 5 and 6, where 1 is the fattest string and 6 is the thinnest string.  Notice that the 4^th and 5^th string are not included, and that is due to the effect of standard tuning, such that the nature of the intervals would change.

Note4: The pick can be gripped in several different ways.  Personally, these days I usually grip it between my thumb and index finger.  However, for more power, consider practicing by holding the pick also with the middle, and/or the ring finger.  This is especially important with acoustic guitars where the power with which one strikes the guitar is usually very important.

Note5:  These exercises are meant to do with great amounts of repetition.  Each time you play them, count the 4 notes, and stress the first of the 4 every time.  Repetition is the key to success.  I have probably done each of these exercises millions of times.

The Lesson Itself

6:1  Except for the 4^th and 5^th strings this pattern of intervals is true at any place on the guitar.

6:2  The root is always played with the index finger in this exercise.  The 2^nd note, which is the flat 2^nd in comparison to the root note, is always played with the middle finger in this exercise.  The flat 2^nd is a half step up from the root which means it should be played in the same string, at the next higher up adjacent fret, and that pattern is true at any place on the fret board.  The 3^rd note is a flat 6^th in comparison to the root note, and it is reached by skipping to the next highest string, and is always played with the pinky finger on the next highest string in most instances.  It is a half step up from the 5^th, where a 1 and a 5 make a power chord.  Also, it may be located as being 3 half steps up from the root, but on the next highest string.  For example, if an A note is the root in this exercise, then a C note would represent the flat 6^th.  The 4^th note of the repeatable pattern is a 2^nd played with the ring finger, but this time rather than a half step, a whole step is used, which means for instance that if the root note is on the 5^th fret, a whole step up would be the same string, but at the 7^th fret on the same string as the root note.  In order to calculate a whole step up, just add 2 frets to the root not and you will be there.  For instance, if the root note is at the 6^th fret, 6+2=8, such that the 2^nd interval is at the 8^th fret.

6:2  Try alternating picking, where down strokes are followed by upstrokes, and also practice using all down strokes, which is described by up and down movements as opposed to a style that would use all down strokes.   The aim is through repeating this exercise hundreds or thousands of times, speed, fluidity and outright finesse will be developed.

6:3  Whether you are positioned at the 12^th fret, the 7^th fret, the 5^th fret, or the 1^st fret, or any other fret for that matter; or if you use the 1^st and 2^nd string, the 2^nd and 3^rd string, or the 5^th and 6^th string etc., on the string used for doubles for this exercise, the pattern remains the same.  The index finger will play the lowest note with respect to tonality, and that will be the root note.  

6:4  So, for now, as the note says, forget the 4^th and 5^th strings for this lesson series because their tonality doesn’t follow the same interval pattern because in standard tuning these strings are tuned to different intervals than the other strings.  And, get keyed into the tones of the suggested intervals on the suggested strings.  Develop your ear.

Note6:  I learned how to play a guitar strung for a righty as a left hand person.  Thus, some of these exercises are extremely difficult, while doing other things on my guitar come much more naturally.  This is what landed me in a good jazz band while I was still in High School.  However, to be a real player, I had to become completely ambidextrous.  That is, as a lefty, I had to make my right hand to be the dominant hand.  However, these exercises are every bit as relative to any player, ambidextrous, righty or lefty.  I do believe one of the greatest aspects of guitar as a musical instrument is that it enables a player to challenge himself or herself, especially their weaker hand.  Some of these exercises may come easy for you, but I can almost guarantee that they all won’t.

50th Guitar Snake River Rapids Exercises: Ring, Pinky, Index, Ring in 4s

You don’t have to start with exercise one.  Start with this exercise if you like!

Note:  If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately!  Please!  It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note2:  Palm muting refers to muting the actual string that you are playing, and all the other strings.

Note3:  Without palm muting refers to not muting the string your are playing, while you are playing it, but then muting it after each note, while muting all the other strings.

Note4:  Down strokes refers to playing a string only with a downward motion of the pick.  Thus, the pick starts high hits the string and bounces off, and instead of picking the note with an upstroke of the pick on the rebound, return to a position with the pick above the string before making another down stroke.  This is a style of play Metallica commonly uses.  Generally, a down stroke sounds heavier than an upward stroke, such that using all downward strokes makes for a heavier sound.

Note5:  Alternating strokes refers to picking with upward strokes and downward strokes.  The purpose of alternating strokes is usually to gain speed while picking.

New Note6:  If it is too difficult to move this pattern up and down the fret board, I suggest not moving it, but trying it at various places.  For example, the index might occupy the 5^th fret, the middle might occupy the 6^th fret, the ring might occupy the 7^th fret, and the pinky might occupy the 8^th fret of any of the six strings, and the pattern that is the title of this exercise may be repeated without moving it up and down the fret board.  Another example might be to play the pattern of this exercise on a single string with the index finger at the 12^th fret, the middle finger at the 13^th fret, and the ring at the 14^th fret, and the pinky at the 15^th fret.

Note7:   The first set of exercises I gave was primarily so that one doesn’t injure their fretting hand by stretch too much.  Next, I increased the “jiggas,” giving a picking hand work out.  The lesson-blogs from 40 to 63 will be on strengthening speed and finger motility.

Note8: The exercises in this blog will involve the index finger, the ring finger, and the pinky finger.  Unlike earlier exercises, it will go below the 5^th fret.

50:1  On string 6, at the 12^th fret, play the following pattern using all down strokes: 14^th fret w/ring  finger, 15^th fret with your pinky finger, 12^th fret with your index finger, and 14^th fret with your ring finger.

50:2  On string 6, at the 11^th fret, play the following pattern using all down strokes: 13^th fret w/ring finger, 14^th fret with your pinky finger, 11^th fret with your index finger, and 13^th fret with your ring finger.

50:3  On string 6, at the 10^th fret, play the following pattern using all down strokes: 12 fret w/ ring finger, 13^th fret with your pinky finger, 10^th fret with your index finger, and 12^th fret with your ring  finger.

50:4  On string 6, at the 9^th fret, play the following pattern using all down strokes: 11^th fret w/ring finger, 12^th fret with your pinky finger, 9^th fret with your index finger, and 11^th fret again with your ring finger.

50:5  Work this pattern down to the 1^st fret.  Then, work it back up, a half step higher each time. 

50:6  Repeat exercises 50:3 and so on; on the string 5.

50:7  Repeat exercises 50:3 and so on; on the string 4.

50:8  Repeat exercises 50:3 and so on; on the string 3.

50:9  Repeat exercises 50:3 and so on; on the string 2.

50:10  Repeat exercises 50:3 and so on: on the string 1.

50:11  Repeat exercises using alternating strokes (up and down) instead of just down strokes.

50:12 Repeat without palm muting w/down strokes.

50:13 Repeat w/palm muting and w/down strokes.

50:14 Repeat w/alternating strokes, w/palm muting.

50:15  If it feels comfortable, this pattern can be played at higher frets than the ones listed.

50:16  Follow the pattern in 50:1 - 50:14 as far up the frets is as still easy or playable on your guitar. 

50:17  Then, feel free to work your way back to the 12^th fret using the same pattern.  Possibly consider moving the pattern down the fret in whole steps.  For example, start at the pattern at the 19^th fret, then the 17^th fret, then the 15^th fret, then the 13^th, then the 11^th fret.

***** A Show of Hands by Victor Wooten –Move Over Ron Carter, Victor Wooten Is Probably The Best

This album is a solo bass album. Not too many bassists would do that. It explores the bass in ways that only Wooten can. Why? Wooten is the probably the best bassist of his time. I think he is far better than Ron Carter even. He needs no other musician to aid him to fill out the sound. In fact, I think the summit of music’s super powers, the Dennis Chambers, Greg Howe, and Victor Wooten album didn’t quite capture the essence of these players very well because they are all capable of performing solo and for them to play together tripping over each other’s beats must be very difficult. So, I would recommend this album for anyone, and I would expect that just about anyone would like it. Just because I would recommend an album for everyone however does not mean that I would also expect them to like it. There are some vocals on the album. However, they aren’t central to the album, and they add very cleverly to the sound.

26th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1. Root, 4, flat 3, 5.

1. 1st 1st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes

2. 1st Almost Killing the 1st Position Blues Pentatonic Scales in 4s on the 1st and 2nd Strings.

3. 1st 27 Lessons for Mode 1 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1

· 26th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1. Root, 4, flat 3, 5.

Note1: Please note, that I call the fattest string, the 1st string. Thus, the second fattest string would be the 2nd string, and the skinniest string would be the 6th string, and so on.

Note2: If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately! Please! It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note3: 1: Refers to the section of pentatonic drills. In this case, 1 means that the drill is for 1 and 2 strings. For example, the second section uses 3 strings.

Note4: 1:1 The 2nd 1 of 1:1 refers to the position of the blues pentatonic scale that is used. As a pentatonic scale has 5 notes, there are 5 positions. These positions are all part of a scale. One can switch between positions and not play any wrong notes. 1:1a-1:1e in its entirety can be raised/lowered as much as 11 half steps to result in modes with root notes in different keys. Also, note that the pattern changes between the 1st and 2nd strings because the intervals between open strings when using standard tuning are not always the same.

1:1a Position 1 in the key of E minor is as follows. 1st string; 12th fret and 15th fret. 2nd string; 12th and 14th fret. 3rd string; 12th and 14th fret. 4th string; 12th and 14th fret. 5th string; 12th and 15th fret. And the 2nd string follows the same pattern as the 1st string.

1:1b Position 2 in the key of E minor is as follows. 1st string; 3rd and 5th fret. 2nd string; 2nd and 5th fret. 3rd string; 2nd fret and 5th fret. 4th string; 2nd and 4th fret. 5th string; 3rd and 5th fret. And the 6th string 3rd and 5th fret.

1:1c Position 3 in the key of E minor is as follows. 1st string; 5th and 7th fret. 2nd string; 5th and 7th fret. 3rd string; 5th and 7th fret. 4th string; 4th and 7th fret. 5th string; 5th and 8th fret. 6th string 5th and 7th fret.

1:1d Position 4 in the key of E minor is as follows. 1st string; 7th and 10th fret. 2nd string; 7th and 10th fret. 3rd string; 7th and 9th fret. 4th string; 7th and 9th fret. 5th string; 8th and 10th fret. And on the 6th string 7th and 10th fret.

1:1e Position 5 in the key of E minor is as follows. 1st string; 10th and 12th fret. 2nd string; 10th and 12th fret. 3rd string; 9th and 12th fret. 4th string; 9th and 12th fret. 5th string; 10th and 12th fret. 6th string 10th fret and 12th fret.

Note5: 1:1:1 The third 1 of 1:1:1 refers to the mode of the pentatonic scale that is used. There are 5 modes. Though there is at least one major mode and one minor mode, to my knowledge, these modes don’t commonly go by names such as Lydian, or Ionian.

Note6: 1:1:1:7 The 4th in the sequence: 1:1:1:7 is a 7 and refers to the specific lesson title. That is that this lesson is a drill that uses the Root note, the 4th note, and the 5th note of the 7 note major scale in a pattern, rather than the 4th and 5th of the pentatonic scale, etcetera. That way a 5th is always going to be a 5th, even it is the 4th mode of the pentatonic scale, where a 5th would be the 5th note of a major scale with 7 notes.

Note7: A pentatonic scale is a 5 note scale. Usually, for the blues pentatonic scale, scalar positions have 2 notes per string. That is there are, 2 possible notes on the 1st string, 2 possible notes on the 2nd string, 2 possible notes on the 3rd string, 2 possible notes on the 4th string, 2 possible notes on the 5th string and 2 possible notes on the 6th string for any given position. The notes for these exercises will all be played on the 1st and 2nd strings, which are the 2 fattest strings. If your guitar is a standard 6 string with standard 6 string tuning then sometimes the 1st string is called the low E string, and the 2nd string is called the A string.

Note8: I will call the first mode of the blues pentatonic scale to be a minor scale. 5 notes of this pentatonic pattern follow the formula; root, flat 3, 4, 5, and flat 7, where the next note is an octave where the scale repeats itself. Perhaps, it would be better to call it a hexave, but since intervals are told usually with respect to a 7 note major scale, the 8th note of the Ionian mode, which is another name for a classical major scale is an octave. An octave is the same note as the root note, only an octave higher. In addition, one is often able to solo interchangeably between say the Dorian mode, and a minor Pentatonic scale, where according to the Dorian mode, such that the 8th note is called an octave, while the same note when only using a minor pentatonic scale could be thought of as a hexave, the 6th note. For example, in A Dorian, the octave is the note A, while in A minor pentatonic the hexave is also an A note. The reason for this paradox is that there are a different number of notes for the scales in question. That is for A Dorian it takes 7+1 notes to get to the octave, and for A minor pentatonic, which is a similar scale it take only 5+1 notes to get to the same interval, such that it makes sense to determine intervals as relative to the Ionian mode, of which the intervals are 1 (the root), 2, 3, 4, 5, 6, 7, and the 1, which is also 8, which is also the octave. The reason for this is that the Ionian mode is to be thought of as having no sharp intervals or flat intervals, even though these scales can be written with sharp notes or flat notes, depending on the key in classical notation. Here, I have placed before the reader a key to some of the paradox I have written where note and interval may be considered as synonyms, or they might take on a different definition. Noting this paradox is key for musicians, because notes can be intervals and intervals can be notes, yet if the word interval is used, it will always be with respect to the notes of the Ionian mode, commonly called the major scale, and it is such that for example the notes of the C major scale pattern can be moved up a half step, etc, and the result of moving the scale up a half step can be a Ionian mode in the key of C# major, which has sharps and/or flats on a G clef, etc, though it’s intervals with respect to the Ionian mode are neither flat nor sharp.

The Lesson Itself

1:1:1:26:1 The root note will be the lowest note for this exercise. The root note does not have to be the first note, nor the lowest note, but for this lesson it will be. Laying out the pattern root, flat 3, 4, 5, on a fret board that has standard tuning will always follow the following pattern: On the 1st string, the root will be the first note is the 1st string, and the 4th is a whole step up from flat three, and is at the same fret as the root note, but on the 2nd string. Like the 4th, the 5th is also played on the 2nd string. This 4 note pattern represents a cross section of the blues pentatonic scale, where each drill will contain between 2 to 4 of this pattern of notes.

1:1:1:26:2 The time signature will be 4/4 time. That means that it is to be counted in 4s. Where the 1st note of the 4 note sequence is played slightly louder than or stressed compared the rest. This is the easiest, and most commonly recognized time signature.

1:1:1:26:3 Time to play. Make sure your guitar is in tune, and has standard tuning. In another blog, I describe how this is to be accomplished through the usual methods.

1:1:1:26:4

A. With your index finger play the 12th note, meaning the 12th fret, of the 1st string (the thickest string) with a down stroke. This place on the fret board is usually designated with a double dot marking. This should be an E note. Use your right hand to mute all the strings except for the string that is being played.

B. The next note to be played is a play is a 4th from the E on the 1st string. It is also an A note, and played with an upstroke. It is at the 12th fret but on the 2nd string. It is to be carefully played with the index finger such that pain does not occur. If you feel unable to do this don’t force your hand to play it because that is how injuries occur.

C. Play the 3rd note on the 1st string with the middle finger at the 15th fret, such that the transition actually causes the other strings to be muted. This note is played with an down stroke and is an G note.

D. In this case the 4th note is the 5th in the key of E minor, a B note. This note is the 4th note of the sequence. It is to be played on the 2nd string. It is played with an upstroke at the 14th fret with the ring finger. Again, it is good to try to mute all the strings, except for the one that you are playing. Thus, it is such that with this exercise, a pattern is created, with ones fingers.

1:1:1:26:5 Next repeat this pattern, always using a down stroke on the 1st sting, and alternate picking. Play the pattern four times. If you want use all down strokes for each note that is played. It is a good idea to be able to play with either all down strokes of alternate picking.

1:1:1:26:6 Next, play the same pattern a half step lower, using alternate picking. These steps of moving this pattern up and down the fret board cause key changes.

A. It will follow the pattern, 1st string 11th fret using the index finger (root). Down stroke

2nd string 11th fret using the index finger (4th interval). Up stroke

B. 1st string 14th fret using the pinky finger (flat 3rd interval). Down stroke

C. Finish with the 4th note on the 2nd string at the 4th fret using the ring finger (5th interval). Up stroke

D. This is the key of E flat.

E. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:26:6 picking with all down strokes.

1:1:1:26:7 Next, play the same pattern a half step lower, the key of D using alternating strokes. That is, these steps of moving this pattern up and down the fret board cause key changes. This sequence will follow the pattern,

A. 1st string 10th fret using the index finger (root). Down stroke

B. 2nd string 10th fret using the index finger (4th interval). Up Stroke

C. 2nd string 13th fret using the pinky finger (flat 3rd interval). Down Stroke

D. Finish with the 4th note on the 2nd string at the 12th fret using the middle finger (flat 5th interval). Up Stroke

E. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:26:7 picking with all down strokes.

1:1:1:26:8 Repeat the above described pattern moving up and down the fret board, changing keys every time the pattern is moved. This pattern is well established in pentatonic lessons 1-10. Otherwise, hold the pattern in the same place, repeating again and again.

1:1:1:26:9 Repeat 1:1:1:26:4-7 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

1:1:1:26:10 If possible on your guitar, you may wish to continue this pattern above the 12th fret. On some guitars, it may be possible to go up to the 24th fret, if your guitar has one, with this pattern.

1:1:1:26:11 After having worked your way above the 12th fret, now work your way back.

***** Destroy Erase Improve by Meshuggah – Unique and Awesome Are an Understatements

From start to finish, this album has rhythms that I had never heard previously.  The aim is heaviness, and it is good heaviness.  There is some clean channel noodling that makes for a break from the onslaught making the heavy parts seem even heavier, rather than all heaviness, which in my opinion often just leaves the listener numb.  If you are into metal, then get this album; it is essential to any metal collection.  Because its rhythms are so unique, I would put the influence that Meshuggah has on par with bands like Black Sabbath, and Deep Purple.  Destroy Erase Improve is really the first album where Meshuggah evolves their trademark style of rhythms that nobody has heard anywhere ever before so far as I know.  I would recommend this album to anyone, even though anyone won’t like it.  Really, anyone who appreciates music should be able to appreciate this one.  This is some of the best metal ever made!

1:1:2:1-20 Blues Syllabus: 2nd 20 Lessons for Mode 2 Blues Pentatonic Drills String 1 and 2, Position 1

Please note, this blog posted has been updated and is available at the following website: http://anarchy-squared-guitar-lessons.blogspot.com/2014/07/1.html

Since there is only one lesson left in the first part of the syllabus ({1:1:1:1-27} 27 Lessons for Mode 1 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1), I will post the next part of the syllabus.

This way this syllabus is labeled 1:1:2:1-20 is as follows.
1: is 1st 1st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes

The next 1: of 1:1: is 1st Almost Killing the 1st Position Blues Pentatonic Scales in 4s on the 1st and 2nd Strings

The 2 of 1:1:2: is 2nd 20 Lessons for Mode 2 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1 – These 20 lessons are listed below.

Below 1st through 20th represent the titles of 1-20: of Blues Pentatonic Drills for the 2 Fattest Strings. Mode 2, Position 1



2nd 20 Lessons for Mode 2 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1

· 1:1:2:1 1st Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 3, Root, 3.

· 1:1:2:2 2nd Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 2, Root 2.

· 1:1:2:3 3rd Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 6, root, 6.

· 1:1:2:4 4th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 2, 3, 2.

· 1:1:2:5 5th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 3, 2, 3.

· 1:1:2:6 6th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 6, 3, 6.

· 1:1:2:7 7th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 6, 2, 6.

· 1:1:2:8 8th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 6, 3, 2.

· 1:1:2:9 9th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 6, 2, 3.

· 1:1:2:10 10th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 2.6, 2.

· 1:1:2:11 11th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 3, 6, 2.

· 1:1:2:12 12th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 2, root, 3

· 1:1:2:13 13th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 2, root, 6

· 1:1:2:14 14th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 3, root, 2

· 1:1:2:15 15th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 3, root. 6.

· 1:1:2:16 16th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 6, root, 3.

· 1:1:2:17 17th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 6 root, 2.

· 1:1:2:18 18th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 2, 3, 6.

· 1:1:2:19 19th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 3, 2, 6.

   1:1:2:20 20th Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 3, 2, 6

** III by Chicken Foot – Music of the Rich, For the Rich, and By the Rich

This album suffers from a major problem.  The problem is that there are loads of unknown bands that can play at this level of talent that are almost completely unknown.  I admit this album does have its moments where it is really good.  However, at its core this is same old same old rock n’ roll and I would rather go to a local bar and sit on the bar stool with a front row seat to listen to music like this.  Seriously, I don’t have a lot of money.  The chances I’d have the money to see Chicken Foot live are nil because I have no money.  I can’t believe the audacity of the singer thinking that he has something in common with the common man through adding a track about the woes of common people, as if this would make it okay when they bring in millions of dollars in album sales alone.  The music is worth 3 stars in my opinion, but the mass marketing of this band and its support that it has undeservedly received has this album clocking in at 2 stars IMHO.  I don’t like music of the rich, for the rich, and by the rich.

** Lovecraft and Witch Hearts by Cradle of Filth – No Longer Shocking But Annoying

I’ve got to admit; I am a dad, and this music really just doesn’t fit the bill when it comes to selection of music for the house.  Granted, I usually listen to music when my family isn’t home.  However, really I only like the Lovecraft cd, and that is probably because it brings me back to my college years where I saw Cradle of Filth live at Tramps in NYC, at one of their first USA shows.  It was a great show, exciting to see a metal band come from Europe, even if it was only Great Britain.  I had a lot of fun at the show.  I still remember when Dani said, “Smells like Catholics in here,” and the show was clearly sold out.  The place was packed!  However, this band seems to be all about attracting youth and then polluting them, hence the name Cradle of Filth.  I can remember listening to a video where some parents were concerned about their children listening to this band, and laughing in college.  Then, as a college student I wasn’t very interested in having morals to live by.  As an adult, in my 30s, this music seems totally inappropriate for children.  I bought it because I had lost all of my old Cradle of Filth cds, and boy was I disappointed by what I used to remember as a good metal band that pushed the envelope.  I recall the children’s size clothing Cradle of Filth sold, as well as their lunch pails, and there is a part of my conscience that says, I shouldn’t be promoting this stuff.  Of course I did when I was young and stupid in college.  I admit, I wouldn’t clothe my kid in the attire and give him a lunch box for school.  It is just poor taste, and as someone who is now grown up Cradle of Filth does not strike me the same way that they used to.  I used to love this stuff for shock value.  Now it no longer shocks me, so I see no value in it.

***** Dear Old Stockholm by John Coltrane – One Of My Coltrane Favorites

This cd was released before Coltrane’s very experimental cds like Stellar Regions, which was a terrible experimental album.  However, Dear Old Stockholm surpasses that age where he was trying to recreate Kind of Blue, something which almost all of the jazz musicians of the time sought to do, and it is no wonder as Kind of Blue is one of jazz’s bestselling albums.  (I haven’t a clue why, because I don’t like it much.)  First, in his solo career Trane tried to do what has already been done before with Blue Trane, and Soul Trane, each trying to copy Kind of Blue.  However, in my opinion these albums don’t represent the best Trane had to offer.  I guess there will be some disagreement with me when I post this.  Trane was at his best on albums that were experimental, where he was pushing the envelope in jazz.  That is precisely what Coltrane does on Dear Old Stockholm.  If you are expecting a same old same old jazz cd, don’t buy this album!!!  This album is nothing short of awesome!!!  So far as I know, this is what I would call a unique jazz album.  I have never heard any album like it!  So many jazz artists try to recreate what has been done before them, but now jazz isn’t healthy enough of a genre to push the envelope like John Coltrane on Dear Old Stockholm.

49th Guitar Snake River Rapids Exercises: Ring, Ring, Index, Pinky in 4s

You don’t have to start with exercise one. Start with this exercise if you like!

Note: If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately! Please! It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note2: Palm muting refers to muting the actual string that you are playing, and all the other strings.

Note3: Without palm muting refers to not muting the string your are playing, while you are playing it, but then muting it after each note, while muting all the other strings.

Note4: Down strokes refers to playing a string only with a downward motion of the pick. Thus, the pick starts high hits the string and bounces off, and instead of picking the note with an upstroke of the pick on the rebound, return to a position with the pick above the string before making another down stroke. This is a style of play Metallica commonly uses. Generally, a down stroke sounds heavier than an upward stroke, such that using all downward strokes makes for a heavier sound.

Note5: Alternating strokes refers to picking with upward strokes and downward strokes. The purpose of alternating strokes is usually to gain speed while picking.

49:1 The first set of exercises I gave was primarily so that one doesn’t injure their fretting hand by stretch too much. Next, I increased the “jiggas,” giving a picking hand work out. The lesson-blogs from 40 to 63 will be on strengthening speed and finger motility.

49:2 The exercises in this blog will involve the index finger, the ring finger, and the pinky finger. Unlike earlier exercises, it will go below the 5th fret.

49:3 On string 6, at the 12th fret, play the following pattern using all down strokes: 14th fret w/ring finger, 14th fret with your ring finger, 12th fret with your index finger, and 15th fret with your pinky finger.

49:4 On string 6, at the 11th fret, play the following pattern using all down strokes: 13th fret w/ring finger, 13th fret with your index finger, 11th fret with your index finger, and 14th fret with your pinky finger.

49:5 On string 6, at the 10th fret, play the following pattern using all down strokes: 12 fret w/ ring finger, 12th fret with your index finger, 10th fret with your index finger, and 13th fret with your pinky finger.

49:6 On string 6, at the 9th fret, play the following pattern using all down strokes: 9th fret w/ring finger, 9th fret with your index finger, 9th fret with your index finger, and 12th fret again with your pinky finger.

49:7 Work this pattern down to the 1st fret. Then, work it back up, a half step higher each time.

49:8 Repeat exercises 49:3 and so on; on the string 5.

49:9 Repeat exercises 49:3 and so on; on the string 4.

49:10 Repeat exercises 49:3 and so on; on the string 3.

49:11 Repeat exercises 49:3 and so on; on the string 2.

49:12 Repeat exercises 49:3 and so on: on the string 1.

49:13 Repeat exercises using alternating strokes (up and down) instead of just down strokes.

49:14 Repeat without palm muting w/down strokes.

49:15 Repeat w/palm muting and w/down strokes.

49:16 Repeat w/alternating strokes, w/palm muting.

49:17 If it feels comfortable, this pattern can be played at higher frets than the ones listed.

49:18 Follow the pattern in 49:3 - 49:34 as far up the frets is as still easy or playable on your guitar.



49:19 Then, feel free to work your way back to the 12th fret using the same pattern. Possibly consider moving the pattern down the fret in whole steps. For example, start at the pattern at the 19th fret, then the 17th fret, then the 15th fret, then the 13th, then the 11th fret.

***** When Gravity Fails by Neil Zaza – Like Many Musicians, Zaza Is a Nobody That Deserves More

If Zaza was born a little earlier, so that he fit in right in the time when music was getting to be put on higher quality formats, back in the early kingship Joe Satriani, or even the kingship of Jeff Beck, and also Eric Clapton ruled, Zaza would have been a somebody. However, as Zaza pursues his career there is practically an infinite wall of good progressive music on record, such that there is no demand for someone like Neil Zaza, and that is a real shame because he is a tremendous musician.

I will admit there are a few that are better than Zaza, and that there could be some improvement of this album. However, I’m on Zaza’s side. I want to see him succeed. I won’t say that he is as good as Joe Satriani, but Joe Satriani is only as good as his background music, and I will say this; Satriani often plays to terrible background music. Zaza on the other hand solos to well crafted songs, where his part is central, but it fits in with the music and it doesn’t sound like there is someone who wants to be God who makes sure that no musician in the band challenges his power.

Zaza is at his best when he is playing thoughtfully, trying to craft excellent songs, and this album is chock full of them. I highly recommend this album!

7th Hopping Wires: Root, flat 2, flat 5, 2, and in 4s

Note1: When making the lesson name, the numbering system used reflects each note of the system with respect to the major scale, where “1,” is the root note of the Ionian Major scale, and all Ionian notes are considered to be major, instead of flat or sharp.

Note2: These notes can be played on strings 1 and 2, 2 and 3, 3 and 4, and 5 and 6, where 1 is the fattest string and 6 is the thinnest string. Notice that the 4th and 5th string are not included, and that is due to the effect of standard tuning, such that the nature of the intervals would change.

Note4: The pick can be gripped in several different ways. Personally, these days I usually grip it between my thumb and index finger. However, for more power, consider practicing by holding the pick also with the middle, and/or the ring finger. This is especially important with acoustic guitars where the power with which one strikes the guitar is usually very important.

Note5: These exercises are meant to do with great amounts of repetition. Each time you play them, count the 4 notes, and stress the first of the 4 every time. Repetition is the key to success. I have probably done each of these exercises millions of times.



The Lesson Itself

6:1 Except for the 4th and 5th strings this pattern of intervals is true at any place on the guitar.

6:2 The root is always played with the index finger in this exercise. The 2nd note, which is the flat 2nd in comparison to the root note, is always played with the middle finger in this exercise. The flat 2nd is a half step up from the root which means it should be played in the same string, at the next higher up adjacent fret, and that pattern is true at any place on the fret board. The 3rd note is a flat 5th in comparison to the root note, and it is reached by skipping to the next highest string, and is always played with the middle finger on the next highest string in most instances. The 4th note of the repeatable pattern is a 2nd played with the ring finger, but this time rather than a half step, a whole step is used, which means for instance that if the root note is on the 5th fret, a whole step up would be the same string, but at the 7th fret on the same string as the root note. In order to calculate a whole step up, just add 2 frets to the root not and you will be there. For instance, if the root note is at the 6th fret, 6+2=8, such that the 2nd interval is at the 8th fret.

6:2 Try alternating picking, where down strokes are followed by upstrokes, and also practice using all down strokes. which is described by up and down movements as opposed to a style that would use all down strokes. The aim is through repeating this exercise hundreds or thousands of times, speed, fluidity and outright finesse will be developed.

6:3 Whether you are positioned at the 12th fret, the 7th fret, the 5th fret, or the 1st fret, or any other fret for that matter; or if you use the 1st and 2nd string, the 2nd and 3rd string, or the 5th and 6th string etc., on the string used for doubles for this exercise, the pattern remains the same. The index finger will play the lowest note with respect to tonality, and that will be the root note.

6:4 So, for now, as the note says, forget the 4th and 5th strings for this lesson series because their tonality doesn’t follow the same interval pattern because in standard tuning these strings are tuned to different intervals than the other strings.



Note6: I learned how to play a guitar strung for a righty as a left hand person. Thus, some of these exercises are extremely difficult, while doing other things on my guitar come much more naturally. This is what landed me in a good jazz band while I was still in High School. However, to be a real player, I had to become completely ambidextrous. That is, as a lefty, I had to make my right hand to be the dominant hand. However, these exercises are every bit as relative to any player, ambidextrous, righty or lefty. I do believe one of the greatest aspects of guitar as a musical instrument is that it enables a player to challenge himself or herself, especially their weaker hand. Some of these exercises may come easy for you, but I can almost guarantee that they all won’t.

25th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1 Alternate. Root, 5, 4, root.

A. Introduction to the Lesson1st 1st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes

a. 1st Killing the 1st Position Blues Pentatonic Scales in 4s on the 1st and 2nd Strings

1. 1st 27 Lessons for Mode 1 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1

* 25th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1 Alternate. Root, 5, 4, root.



Note1: Please note, that I call the fattest string, the 1st string. Thus, the second fattest string would be the 2nd string, and the skinniest string would be the 6th string, and so on.

Note2: If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately! Please! It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note3: 1: Refers to the section of pentatonic drills. In this case, 1 means that the drill is for 1 and 2 strings. For example, the second section uses 3 strings.

Note4: 1:1 The 2nd 1 of 1:1 refers to the position of the blues pentatonic scale that is used. As a pentatonic scale has 5 notes, there are 5 positions. These positions are all part of a scale. One can switch between positions and not play any wrong notes. 1:1a-1:1e in its entirety can be raised/lowered as much as 11 half steps to result in modes with root notes in different keys. Also, note that the pattern changes between the 1st and 2nd strings because the intervals between open strings when using standard tuning are not always the same.

1:1a Position 1 in the key of E minor is as follows. 1st string; 12th fret and 15th fret. 2nd string; 12th and 14th fret. 3rd string; 12th and 14th fret. 4th string; 12th and 14th fret. 5th string; 12th and 15th fret. And the 2nd string follows the same pattern as the 1st string.

1:1b Position 2 in the key of E minor is as follows. 1st string; 3rd and 5th fret. 2nd string; 2nd and 5th fret. 3rd string; 2nd fret and 5th fret. 4th string; 2nd and 4th fret. 5th string; 3rd and 5th fret. And the 6th string 3rd and 5th fret.

1:1c Position 3 in the key of E minor is as follows. 1st string; 5th and 7th fret. 2nd string; 5th and 7th fret. 3rd string; 5th and 7th fret. 4th string; 4th and 7th fret. 5th string; 5th and 8th fret. 6th string 5th and 7th fret.

1:1d Position 4 in the key of E minor is as follows. 1st string; 7th and 10th fret. 2nd string; 7th and 10th fret. 3rd string; 7th and 9th fret. 4th string; 7th and 9th fret. 5th string; 8th and 10th fret. And on the 6th string 7th and 10th fret.

1:1e Position 5 in the key of E minor is as follows. 1st string; 10th and 12th fret. 2nd string; 10th and 12th fret. 3rd string; 9th and 12th fret. 4th string; 9th and 12th fret. 5th string; 10th and 12th fret. 6th string 10th fret and 12th fret.

Note5: 1:1:1 The third 1 of 1:1:1 refers to the mode of the pentatonic scale that is used. There are 5 modes. Though there is at least one major mode and one minor mode, to my knowledge, these modes don’t commonly go by names such as Lydian, or Ionian.

Note6: 1:1:1:7 The 4th in the sequence: 1:1:1:7 is a 7 and refers to the specific lesson title. That is that this lesson is a drill that uses the Root note, the 4th note, and the 5th note of the 7 note major scale in a pattern, rather than the 4th and 5th of the pentatonic scale, etcetera. That way a 5th is always going to be a 5th, even it is the 4th mode of the pentatonic scale, where a 5th would be the 5th note of a major scale with 7 notes.

Note7: A pentatonic scale is a 5 note scale. Usually, for the blues pentatonic scale, scalar positions have 2 notes per string. That is there are, 2 possible notes on the 1st string, 2 possible notes on the 2nd string, 2 possible notes on the 3rd string, 2 possible notes on the 4th string, 2 possible notes on the 5th string and 2 possible notes on the 6th string for any given position. The notes for these exercises will all be played on the 1st and 2nd strings, which are the 2 fattest strings. If your guitar is a standard 6 string with standard 6 string tuning then sometimes the 1st string is called the low E string, and the 2nd string is called the A string.

Note8: I will call the first mode of the blues pentatonic scale to be a minor scale. 5 notes of this pentatonic pattern follow the formula; root, flat 3, 4, 5, and flat 7, where the next note is an octave where the scale repeats itself. Perhaps, it would be better to call it a hexave, but since intervals are told usually with respect to a 7 note major scale, the 8th note of the Ionian mode, which is another name for a classical major scale is an octave. An octave is the same note as the root note, only an octave higher. In addition, one is often able to solo interchangeably between say the Dorian mode, and a minor Pentatonic scale, where according to the Dorian mode, such that the 8th note is called an octave, while the same note when only using a minor pentatonic scale could be thought of as a hexave, the 6th note. For example, in A Dorian, the octave is the note A, while in A minor pentatonic the hexave is also an A note. The reason for this paradox is that there are a different number of notes for the scales in question. That is for A Dorian it takes 7+1 notes to get to the octave, and for A minor pentatonic, which is a similar scale it take only 5+1 notes to get to the same interval, such that it makes sense to determine intervals as relative to the Ionian mode, of which the intervals are 1 (the root), 2, 3, 4, 5, 6, 7, and the 1, which is also 8, which is also the octave. The reason for this is that the Ionian mode is to be thought of as having no sharp intervals or flat intervals, even though these scales can be written with sharp notes or flat notes, depending on the key in classical notation. Here, I have placed before the reader a key to some of the paradox I have written where note and interval may be considered as synonyms, or they might take on a different definition. Noting this paradox is key for musicians, because notes can be intervals and intervals can be notes, yet if the word interval is used, it will always be with respect to the notes of the Ionian mode, commonly called the major scale, and it is such that for example the notes of the C major scale pattern can be moved up a half step, etc, and the result of moving the scale up a half step can be a Ionian mode in the key of C# major, which has sharps and/or flats on a G clef, etc, though it’s intervals with respect to the Ionian mode are neither flat nor sharp.

The Lesson Itself

1:1:1:25:1 The root note will be the lowest note for this exercise. The root note does not have to be the first note, nor the lowest note, but for this lesson it will be. Laying out the pattern root, flat 3, 4, 5, on a fret board that has standard tuning will always follow the following pattern: On the 1st string, the root will be the first note is the 1st string, and the 4th is a whole step up from flat three, and is at the same fret as the root note, but on the 2nd string. Like the 4th, the 5th is also played on the 2nd string. This 4 note pattern represents a cross section of the blues pentatonic scale, where each drill will contain between 2 to 4 of this pattern of notes.

1:1:1:25:2 The time signature will be 4/4 time. That means that it is to be counted in 4s. Where the 1st note of the 4 note sequence is played slightly louder than or stressed compared the rest. This is the easiest, and most commonly recognized time signature.

1:1:1:25:3 Time to play. Make sure your guitar is in tune, and has standard tuning. In another blog, I describe how this is to be accomplished through the usual methods.

1:1:1:25:4

A. With your middle finger play the 12th note, meaning the 12th fret, of the 1st string (the thickest string) with a down stroke. This place on the fret board is usually designated with a double dot marking. This should be an E note. Use your right hand to mute all the strings except for the string that is being played.

B. The next note to be played is a play is a 5th from the E. It is also an B note, and played with an upstroke. It is at the 14th fret but on the 2nd string. It is to be carefully played with the pinky finger such that pain does not occur. If you feel unable to do this don’t force your hand to play it because that is how injuries occur.

C. Play the 3rd note on the 2nd string with the middle finger at the 12th fret, such that the transition actually causes the other strings to be muted. This note is played with an down stroke and is an A note.

D. In this case the 4th note is the root note in the key of E minor, an E. The root is the 4th note of the sequence. It is to be played on the 1st string. It is played with an upstroke at the 12th fret with the middle finger. Again, it is good to try to mute all the strings, except for the one that you are playing. Thus, it is such that with this exercise, a pattern is created, with ones fingers.

1:1:1:25:5 Next repeat this pattern, always using a down stroke on the 1st sting, and alternate picking. Play the pattern four times. If you want use all down strokes for each note that is played. It is a good idea to be able to play with either all down strokes of alternate picking.

1:1:1:25:6 Next, play the same pattern a half step lower. These steps of moving this pattern up and down the fret board cause key changes.

A. It will follow the pattern, 1st string 11th fret using the middle finger (root),

B. 2nd string 13th fret using the pinky finger (5th),

C. 2nd string 11th fret using the middle finger (4th),

D. and finish with the 4th note on the 1st string at the 11th fret using the middle finger (root).

E. This is the key of E flat.

F. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:25:6 picking with all down strokes.

1:1:1:25:7 Next, play the same pattern a half step lower, the key of D. That is, these steps of moving this pattern up and down the fret board cause key changes. This sequence will follow the pattern,

A. 1st string 10th fret using the middle finger (root),

B. 2nd string 12th fret using the pinky finger (5th),

C. 2nd string 10th fret using the middle finger (4th),

D. and finish with the 4th note on the 1st string at the 10th fret using the middle (root).

E. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:25:7 picking with all down strokes.

1:1:1:25:8 Repeat the above described pattern moving up and down the fret board, changing keys every time the pattern is moved. This pattern is well establish in pentatonic lessons 1-10.

1:1:1:25:9 Repeat 1:1:1:25:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

1:1:1:25:10 If possible on your guitar, you may wish to continue this pattern above the 12th fret. On some guitars, it may be possible to go up to the 24th fret, if your guitar has one, with this pattern.



1:1:1:25:11 After having worked your way above the 12th fret, now work your way back.

***** The Arista Years by The Grateful Dead – An Amazing Song Collection From Late Weaker Albums

I know what you are going to say.  It’s probably something like this, “I bought a cd from when the Grateful Dead where on the Arista label and was totally disappointed.”  I agree these years generally where not as good.  However, this powerhouse greatest hits package would never leave you thinking that.
I am not an illegal drug user, nor do I condone the use of illegal drugs, but I have heard it said that the only time the Grateful Dead sound good is, “When you are high.”  I think I heard that before this album was released.
What is striking about this collection of songs is that they are good in a jazzy sort of way, with a little showmanship and a lot of crafty talent.  In fact, to date, I still think that this collection is the best of all their greatest hits, and albums, and since Jerry Garcia is dead, I can sit with confidence on my proclamation that of all the Grateful Dead’s albums this one is the best.  However, what I cannot say is that it has been the most important to people’s idea of the Grateful Dead.  Most of these songs are long forgotten, in favor of songs by Phish.

***** Mother’s Milk by the Red Hot Chili Peppers – Arguably Their Underground Breakthrough

About the time that Mother’s Milk came out, folks where starting to notice the Chili Peppers, if for no other reason than their album covers, and their legendary antics.  This album predates me a bit, as I was not a fan of them going back this far.  I hadn’t even heard of the Red Hot Chili Peppers when Mother’s Milk was released.  However, I felt the call to purchase it after soon after I was completely blown away by Blood Sugar Sex Magik all the way back in 1991.

Had it not been for the antics of the Chili Peppers antics, I still regard it unlikely that they would have made it big without it.  Just as it was the naked baby on the cover of the Nirvana’s Nevermind album that was a strong reason Nirvana was catapulted to stardom, so to was just having the word, “Sex,” in the Blood Sugar Sex Magik album title, the nudity on The Abbey Road EP, and the picture on the cover of Mother’s Milk album the reason for this album’s catching on.

So enough talk, what about the music?  Let me tell you this, if Mother’s Milk doesn’t deliver to you some of the best rock music you have ever heard, I think you need to get your hearing checked, or maybe even your soul, because Mother’s Milk is full of funky soul music.

If you don’t have the money for this one, then I would strongly recommend “What Hits? (1992)” or “The Best of the Red Hot Chili Pepper’s (2005).  However, I wouldn’t think of either of these albums as a substitute for getting the early Chili Peppers stuff that predates 1991.  Early in their career the Chili Peppers could do no wrong in my opinion.  Thus, while the greatest hits packages are good, they are no substitute for the early Red Hot Chili Peppers albums.

**** The Red Hot Chili Peppers (1984) - There Is Something About This Album, Something Amazing

This album was made in 1984.  By 1984, I think some of us thought we had heard all the newer sounding rock music that would be made.  When I think of what folks where listening to in 1984, the Van Halen album 1984 comes to mind.  That was a tremendous album, but by 1984 there was an incredible crust of amazing music that the Red Hot Chili Peppers had to crack through in order to make it big.  The band that broke the crust turned out to be Nirvana, with their album Nevermind.  That album gave a chance of success to albums like the album Blood Sugar Sex Magik, and if you liked that album, maybe you thought about checking out this one.
The Chili Peppers put out a lot of great music before their breakthrough album, but it was just that it is was hidden by 1980s big hair bands.  This album should come as a refreshing deviation from what is normal in music.  I love it, and I hope that you are able to do the same.  If nothing else pick up either one of the following greatest hits albums “What Hits? (1992)” or “The Best of the Red Hot Chili Peppers (2005),” if you aren’t planning on getting the Chili Peppers albums before Blood Sugar Sex Magik.  As to whether or not there are enough good songs on this one to make it worthwhile to buy the self-titled effort of the Red Hot Chili Peppers, I would have to say that is a, “Yes,” but not a strong enough yes for me to rate this album 5 stars.  I rarely rate any albums 5 stars for that matter.
Also, if you haven’t noticed that most of my reviews are of bands that are of lesser popularity than usual.  It just so happens to me that I don’t like being a part of the herd.  I don’t like being a part of things that are very popular.  Likewise, I was only naïve and in 8th grade when I bought the mega-popular album Blood Sugar Sex Magik, and I do have to admit; the crowds got it correct on this one.  Unusually, music that was popular was also good.  I think that has also happened in a few other instances like The Dave Mathews Band, and Lady Gaga, but for the most part I enjoy this album because it is still somewhat of a rarity that is very fun to listen to.
Last, but not least.  Unlike the other retro-champions of this time, such as Nirvana or the Smashing Pumpkins, The Red Hot Chili Peppers do not offend my ears with overly simple music.

24th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1. Root, 5, 4, root.

A. Introduction to the Lesson1st 1st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes

a. 1st Killing the 1st Position Blues Pentatonic Scales in 4s on the 1st and 2nd Strings

1. 1st 27 Lessons for Mode 1 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1

· 24th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1. Root, 5, 4, root.

Note1: Please note, that I call the fattest string, the 1st string. Thus, the second fattest string would be the 2nd string, and the skinniest string would be the 6th string, and so on.

Note2: If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately! Please! It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note3: 1: Refers to the section of pentatonic drills. In this case, 1 means that the drill is for 1 and 2 strings. For example, the second section uses 3 strings.

Note4: 1:1 The 2nd 1 of 1:1 refers to the position of the blues pentatonic scale that is used. As a pentatonic scale has 5 notes, there are 5 positions. These positions are all part of a scale. One can switch between positions and not play any wrong notes. 1:1a-1:1e in its entirety can be raised/lowered as much as 11 half steps to result in modes with root notes in different keys. Also, note that the pattern changes between the 1st and 2nd strings because the intervals between open strings when using standard tuning are not always the same.

1:1a Position 1 in the key of E minor is as follows. 1st string; 12th fret and 15th fret. 2nd string; 12th and 14th fret. 3rd string; 12th and 14th fret. 4th string; 12th and 14th fret. 5th string; 12th and 15th fret. And the 2nd string follows the same pattern as the 1st string.

1:1b Position 2 in the key of E minor is as follows. 1st string; 3rd and 5th fret. 2nd string; 2nd and 5th fret. 3rd string; 2nd fret and 5th fret. 4th string; 2nd and 4th fret. 5th string; 3rd and 5th fret. And the 6th string 3rd and 5th fret.

1:1c Position 3 in the key of E minor is as follows. 1st string; 5th and 7th fret. 2nd string; 5th and 7th fret. 3rd string; 5th and 7th fret. 4th string; 4th and 7th fret. 5th string; 5th and 8th fret. 6th string 5th and 7th fret.

1:1d Position 4 in the key of E minor is as follows. 1st string; 7th and 10th fret. 2nd string; 7th and 10th fret. 3rd string; 7th and 9th fret. 4th string; 7th and 9th fret. 5th string; 8th and 10th fret. And on the 6th string 7th and 10th fret.

1:1e Position 5 in the key of E minor is as follows. 1st string; 10th and 12th fret. 2nd string; 10th and 12th fret. 3rd string; 9th and 12th fret. 4th string; 9th and 12th fret. 5th string; 10th and 12th fret. 6th string 10th fret and 12th fret.

Note5: 1:1:1 The third 1 of 1:1:1 refers to the mode of the pentatonic scale that is used. There are 5 modes. Though there is at least one major mode and one minor mode, to my knowledge, these modes don’t commonly go by names such as Lydian, or Ionian.

Note6: 1:1:1:7 The 4th in the sequence: 1:1:1:7 is a 7 and refers to the specific lesson title. That is that this lesson is a drill that uses the Root note, the 4th note, and the 5th note of the 7 note major scale in a pattern, rather than the 4th and 5th of the pentatonic scale, etcetera. That way a 5th is always going to be a 5th, even it is the 4th mode of the pentatonic scale, where a 5th would be the 5th note of a major scale with 7 notes.

Note7: A pentatonic scale is a 5 note scale. Usually, for the blues pentatonic scale, scalar positions have 2 notes per string. That is there are, 2 possible notes on the 1st string, 2 possible notes on the 2nd string, 2 possible notes on the 3rd string, 2 possible notes on the 4th string, 2 possible notes on the 5th string and 2 possible notes on the 6th string for any given position. The notes for these exercises will all be played on the 1st and 2nd strings, which are the 2 fattest strings. If your guitar is a standard 6 string with standard 6 string tuning then sometimes the 1st string is called the low E string, and the 2nd string is called the A string.

Note8: I will call the first mode of the blues pentatonic scale to be a minor scale. 5 notes of this pentatonic pattern follow the formula; root, flat 3, 4, 5, and flat 7, where the next note is an octave where the scale repeats itself. Perhaps, it would be better to call it a hexave, but since intervals are told usually with respect to a 7 note major scale, the 8th note of the Ionian mode, which is another name for a classical major scale is an octave. An octave is the same note as the root note, only an octave higher. In addition, one is often able to solo interchangeably between say the Dorian mode, and a minor Pentatonic scale, where according to the Dorian mode, such that the 8th note is called an octave, while the same note when only using a minor pentatonic scale could be thought of as a hexave, the 6th note. For example, in A Dorian, the octave is the note A, while in A minor pentatonic the hexave is also an A note. The reason for this paradox is that there are a different number of notes for the scales in question. That is for A Dorian it takes 7+1 notes to get to the octave, and for A minor pentatonic, which is a similar scale it take only 5+1 notes to get to the same interval, such that it makes sense to determine intervals as relative to the Ionian mode, of which the intervals are 1 (the root), 2, 3, 4, 5, 6, 7, and the 1, which is also 8, which is also the octave. The reason for this is that the Ionian mode is to be thought of as having no sharp intervals or flat intervals, even though these scales can be written with sharp notes or flat notes, depending on the key in classical notation. Here, I have placed before the reader a key to some of the paradox I have written where note and interval may be considered as synonyms, or they might take on a different definition. Noting this paradox is key for musicians, because notes can be intervals and intervals can be notes, yet if the word interval is used, it will always be with respect to the notes of the Ionian mode, commonly called the major scale, and it is such that for example the notes of the C major scale pattern can be moved up a half step, etc, and the result of moving the scale up a half step can be a Ionian mode in the key of C# major, which has sharps and/or flats on a G clef, etc, though it’s intervals with respect to the Ionian mode are neither flat nor sharp.

The Lesson Itself

1:1:1:24:1 The root note will be the lowest note for this exercise. The root note does not have to be the first note, nor the lowest note, but for this lesson it will be. Laying out the pattern root, flat 3, 4, 5, on a fret board that has standard tuning will always follow the following pattern: On the 1st string, the root will be the first note is the 1st string, and the 4th is a whole step up from flat three, and is at the same fret as the root note, but on the 2nd string. Like the 4th, the 5th is also played on the 2nd string. This 4 note pattern represents a cross section of the blues pentatonic scale, where each drill will contain between 2 to 4 of this pattern of notes.

1:1:1:24:2 The time signature will be 4/4 time. That means that it is to be counted in 4s. Where the 1st note of the 4 note sequence is played slightly louder than or stressed compared the rest. This is the easiest, and most commonly recognized time signature.

1:1:1:24:3 Time to play. Make sure your guitar is in tune, and has standard tuning. In another blog, I describe how this is to be accomplished through the usual methods.

1:1:1:24:4 With your middle finger play the 12th note, meaning the 12th fret, of the 1st string with a down stroke. This place on the fret board is usually designated with a double dot marking. This should be an E note. Use your right hand to mute all the strings except for the string that is being played. The next note to be played is a play is a 5th from the E. It is also an B note, and played with an upstroke. It is at the 14th fret but on the 2nd string. It is to be carefully played with the ring finger such that pain does not occur. If you feel unable to do this don’t force your hand to play it because that is how injuries occur. Play the 3rd note on the 2nd string with the index finger at the 12th fret, such that the transition actually causes the other strings to be muted. This note is played with an down stroke and is an A note. In this case the 4th note is the root note in the key of E minor, an E. The root is the 4th note of the sequence. It is to be played on the 1st string. It is played with an upstroke at the 12th fret with the middle finger. Again, it is good to try to mute all the strings, except for the one that you are playing. Thus, it is such that with this exercise, a pattern is created, with ones fingers.

1:1:1:24:5 Next repeat this pattern, always using a down stroke on the 1st sting, and alternate picking. Play the pattern four times. If you want use all down strokes for each note that is played. It is a good idea to be able to play with either all down strokes of alternate picking.

1:1:1:24:6 Next, play the same pattern a half step lower. These steps of moving this pattern up and down the fret board cause key changes. It will follow the pattern, 1st string 11th fret using the index finger, 2nd string 13th fret using the ring finger, 2nd string 11th fret using the index finger, and finish with the 4th note on the 1st string at the 11th fret using the index finger. This is the key of E flat. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:24:6 picking with all down strokes.

1:1:1:24:7 Next, play the same pattern a half step lower, the key of D. That is, these steps of moving this pattern up and down the fret board cause key changes. This sequence will follow the pattern, 1st string 10th fret using the index finger, 2nd string 12th fret using the ring finger, 2nd string 10th fret using the index finger, and finish with the 4th note on the 1st string at the 10th fret using the index. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:24:7 picking with all down strokes.

1:1:1:24:8 Repeat the above described pattern moving up and down the fret board, changing keys every time the pattern is moved. This pattern is well establish in pentatonic lessons 1-10.

1:1:1:24:9 Repeat 1:1:1:24:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

1:1:1:24:10 If possible on your guitar, you may wish to continue this pattern above the 12th fret. On some guitars, it may be possible to go up to the 24th fret, if your guitar has one, with this pattern.

1:1:1:24:11 After having worked your way above the 12th fret, now work your way back.