** 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Firstly, I would have rated this album, The Very Best of Cream, three stars had it not been for the aged and out of date technology that it was recorded on.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.