***** 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.

**** Stand Up by Steve Morse – Awesome, But Likely To Get Lost In The Massive Shuffle of Prog Rock

So what does 4 stars mean in this instance?  To me it means that there is superb music, outstanding song writing, but that this album won’t be remembered such that it stands the test of time.  Eventually, folks will probably stop bothering to seek out this far in Steve Morse’s catalogue, simply because most folk don’t have the time to listen to all the stuff out there, which is in one way kind of exciting, but in this case is sad, because this is a really good album, and will be sad when one day distributors stop bothering with it, and it can no longer be bought.

And, what about the songs, is it an good album through and through?  The answer to the is a resounding answer is a yes!  Stand Up truly is a world class work of art.

While Stand Up is not Steve Morse’s best work it is definitely worth picking up.  There are most certainly some really good songs on this effort.  It is both technical and interesting to listen to.  Steve Morse and the Dixie Dregs catalogue represents some of my most favorite progressive rock.  I heard of them all the way back when I was at college from a music teacher.  He was switching formats from tape to cd, so he offered me his tapes.

One thing that stands out on Stand Up is that the vocals sound a lot like Eric Johnson of the Eric Johnson band.  In fact, I wouldn’t be surprised if it was him, but I lack the jacket of this work.  That Stand Up has any vocals at all on it is worth mentioning because usually Steve Morse plays without a singer.  It doesn’t have a lot of vocals, so be alerted.  To me it doesn’t matter who is singing, just that it is good.  If you have heard of Eric Johnson, chances are that you may not have heard of Steve Morse or his better known band the Dixie Dregs.  However, if you have heard of the Dixie Dregs, then chances are that you will have heard the music of Eric Johnson.  And, if you like this sort of music then the album Stand Up should make a great addition if you are an album collector who collects for the sake of listening.

6th Hopping Wires: Root, flat 2, 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 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 5^th in comparison to the root note, and it is reached by skipping to the next highest string, and is always played with the ring finger on the next highest string in most instances.  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.

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.

*** Guitar Battle - Song Writing Is More Important Than Good Musicianship. Heard It 1,000 Times, Yet?

This album basically sounds like a bunch of musicians, really good musicians even, just got together and said, “Hey!  Let’s wing it on a couple classic songs and call it an album.”  I can definitely vouch for that they did not match the power of the original recordings.  And, maybe that is due to poor recording equipment, I don’t know.  This is obviously a low budget recording, and the folks that made it probably had no money to spare on making it.

Guitar Battle is anything but classic renditions of classic songs.  At other times, it seems that they just want to turn up the cheese factor with the guitar solos.  I know in certain instances people like John Coltrane where able to create amazing albums in this manner, but that is not the case with this one.

I should also mention that before he was the famed John Petrucci, the afore said musician plays on this one with lackluster.  As far as it concerns me, this is some of his worst recorded work, and should only be purchased for those looking to complete a collection, and not bought by folks expecting a good album.

John was never a great improviser.  Likewise, though when play with Dream Theater he has improvised, but I will state that these improvisations even in Dream Theater, which I will have you know is one of my favorite bands, never impressed me.  Likewise, I don’t feel that John Petrucci evolved much beyond the skill with which he played with on Guitar Battle.

What I will say for certain is that John is a great song writer, and a tremendous musician, but only so long as he does not venture far from the written music page.