biografi balawan

I Wayan Balawan (lahir 9 September 1973 di Gianyar, Bali) adalah pemusik Jazz Indonesia. Balawan adalah seorang gitaris Jazz yang nama mencuat dan semakin difavoritkan di Indonesia. Balawan membentuk Batuan Ethnic Fusion yang mengusung eksplorasi musik tradisional Bali.
Di kesehariannya, anak-anak di Bali umumnya terekspos upacara agama Hindu, dimana doa-doa, aroma bakaran dupa, gamelan Bali dan umat yang apresiatif menyatu. Ini membawa konsekuensi logis: apresiasi terhadap seni dan musik tumbuh di masa kanak-kanak. I Wayan Balawan tak luput dari konsekuensi lingkungan ini di masa kecilnya, dan itulah yang membentuk kejeniusannya bermusik.

Sinkretisme Musik, Teknik Tapping dan Kecepatan. Setelah menyaksikan konser Balawan dua hari di University Cultural Center - NUS, saya menemukan perkawinan antara gamelan Bali dengan jazz. Perkawinan itu diusung oleh Balawan dan Batuan Ethnic Fusion. Balawan adalah musisi muda yang berbakat dan memiliki motif mulia: dia mencoba menggabungkan gamelan Bali dengan jazz, yang saya rasa, itu hanya akan dilakukan oleh musisi yang sudah matang. Proses menggabungkan jazz dengan gamelan Bali bisa dimaknai sebagai sinkretisme dalam musik. Gamelan adalah pentatonik sedangkan jazz adalah diatonik. Jazz bisa dimainkan dengan tempo lambat ataupun cepat, sedangkan gamelan Bali umumnya cepat. Hal pertama yang harus dilakukan untuk memasukkan jazz dalam gamelan Bali adalah dengan menyamakan tempo. Hal kedua adalah memasukkan nada-nada jazz dalam gamelan, dan sebaliknya.

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Balawan memainkan gitar double-neck 12 senar dengan teknik tapping

Balawan memainkan gitar elektrik dengan teknik right-handed tapping (teknik ini dipopulerkan oleh Eddy van Halen tahun 70an) dimana dia menekan senar gitar antar dua fret dengan empat jari (tangan kanan) seperti memainkan piano, dan empat jari dari tangan kiri memainkan bass dan chords. Kelincahan jemarinya sungguh tinggi, namun kehalusan melodi gitar tetap dipertahankan. Balawan juga dikenal sebagai gitaris Asia pertama yang mampu memainkan tapping delapan jari pada double-neck guitar secara bersamaan.

Siapakah Balawan? Balawan, gitaris jazz muda yang tengah naik daun, lahir di Gianyar, Bali, 9 September 1973. Ketika kecil Balawan belajar memainkan organ Bali dimana kecepatan dan harmoni pentatonik menjadi esensi permainan. Balawan mendapatkan beasiswa untuk belajar musik jazz dan vokal di Australian Institute of Music, SidneyJoe Satriani dan Eddy van Halen. Sekembalinya dari Australia, Balawan membentuk sebuah kelompok musik untuk mengakomodasi musik jazz dan gamelan Bali. Kelompok ini bernama Batuan Ethnic Fusion (BEF). Kelompok ini beranggotakan Balawan, Wayan Suastika, Wayan Sudarsana, Nyoman Marcono, Nyoman Suwidha, Gusti Agung Bagus Mantra, Gusti Agung Ayu Risna Dewi dan Ito Kurdhi. BEF memainkan instrumen tradisional seperti reong, suling, rindik, genggong, kendang and cengceng. (1993 - 1995). Balawan terinspirasi oleh banyak musisi, terutama

Balawan dan BEF merilis tiga album: “GloBALIsm” (1999), diproduksi Dewa Budjana; “Balawan” (2001), direkam di Jerman; “Magic Fingers” (2005).

Matematikawan, Atlit dan Artis. Untuk menjadi musisi yang terkemuka seseorang mesti menjadi “matematikawan”, atlit dan artis. Balawan memiliki tiga hal itu. Ketika memainkan gitar, akurasi dalam menyentuh senar di antara dua fret bisa menghasilkan aliran yang jernih, halus dan bersih. Akurasi adalah syarat yang esensial dalam mengerjakan matematika. Untuk menguasai teknik tapping, yang umumnya sulit, Balawan melatih dirinya siang-malam untuk menghasilkan tapping kecepatan tinggi dan suara yang diinginkan. Usaha ini memerlukan energi luar biasa seperti halnya atlit. Balawan memulai debutnya dengan melebur jazz dan gamelan Bali. Proses memperluas musik dan menggabungkannya dengan musik etnik tidaklah mudah. Hal ini memerlukan jiwa artis dengan kreativitas tinggi untuk menciptakan musik agar jazz dan gamelan Bali tetap hidup.

Makan-Makan di Tepi Sungai. Saya melihat permainan Balawan pertama kali pada 10 dan 12 Maret 2006 di Singapura, meski sebelumnya saya sering mendengar namanya ketika dia manggung di JGTC (Jazz Goes To Campus, Universitas Indonesia). Sungguh menghibur sekaligus mengagumkan. Aransemen musik yang bagus, harmonisasi yang sangat etnikal, kompleks tapi enak untuk dinikmati! Dan, permainan tapping yang sangat cepat! Setelah konser kecil di UCC itu, saya, istri saya, Balawan, Momoko Fusa (pianis klasik dari Jepang), Ony Pah (drum), Dody (bass) dan Batuan Ethnic Fusion makan-makan di tepi Singapore River, tepatnya di Clarke Quay.

“Bagaimanapun baiknya saya bermain jazz, saya tak akan pernah cukup ‘hitam’ untuk memainkannya. Jadi, daripada bersusah payah memainkan otentisitas jazz yang tak akan pernah saya capai, saya memutuskan memainkan musik dimana saya feel at home”, ujar Balawan pada saat merilis Magic Finger.

lebih lanjut: www.wayanbalawan.com

jimmy page biography

James Patrick Page, known as Jimmy Page, (born January 9, 1944) is one of the most influential guitarists in rock and roll. He was the founding member for the band Led Zeppelin and, prior to that, a member of The Yardbirds from late 1966 through 1968.

Page was born in the north London suburb of Heston, Middlesex-Britain. His father was an industrial personnel manager and his mother a doctor's secretary.

Jimmy Page is often thought of as a quintessential rock guitar hero, being in the same class of talent as peers such as Eric Clapton, Jeff Beck, and the late Jimi Hendrix. Page and Beck, who grew up near each other in England and both spent time as guitarists for the Yardbirds, were among the first guitarists to help popularize the use of electronic feedback and distortion with the Roger Mayer fuzzbox.

Jimmy Page began learning guitar when he was 12. His early influences were rockabilly guitarists Scotty Moore and James Burton, who both played on recordings made by Elvis Presley, and Johnny Day who played guitar for The Everly Brothers. The Presley song "Baby Let's Play House" was an early favourite on his first electric guitar, a second hand 1949 Gibson Les Paul. Page's musical tastes however also encompassed acoustic folk playing particularly that of Bert Jansch and John Renbourn, and the blues sounds of Elmore James and B.B. King. At the age of 14, Page appeared on ITV's Search For Stars talent quest programme.

After graduating from school with an initial aim to work as a lab assistant, Page’s love of the guitar saw him switch to playing for Beat poet Royston Ellis before joining his first band, Red E Lewis and The Red Caps. Page was then asked by Neil Christian to join his band, The Crusaders, which gave him his first taste of touring life and an appearance on a November 1962 single, "The Road to Love". Living from out of the back of a van and intermittent wages however, led Page to take up a totally different focus in painting at Sutton Art College in Surrey. While still a student, Page would often jam on stage at the Marquee with bands such as the Cyril Davis All Stars, Alexis Korner's Blues Incorporated and with guitarists Jeff Beck and Eric Clapton. He was spotted one night by John Gibb of The Silhouettes, who asked him to help record a number of singles for EMI, "The Worrying Kind" and "Bald Headed Woman". It wasn't until an offer from Mike Leander from Decca Records that Page was to receive regular studio work. His first session for the label was the recording "Diamonds" by Jet Harris & Tony Meehan which went to Number 1 on the singles chart in 1963.

After brief stints with the band Mickey Finn, and Carter Lewis and The Southerners, Page committed himself to full-time session work. His studio output in 1963 included Brian Pool & The Tremeloes' "Twist and Shout", Heinz's "Just Like Eddie" and in 1964, The Rolling Stones "Heart of Stone", Marianne Faithfull's "As Tears Go By", The Nashville Teens' "Tobacco Road", Dave Berry's "The Crying Game", and Lulu's hit "Shout". Under the auspices of producer Shel Talmy, Page recorded The Kinks "You Really Got Me" (1964) (although there is a dispute on whether Page or Dave Davies played lead]), the guitar part on Them's "Baby Please Don’t Go" (1965), and recorded a lead guitar part on The Who's first single "I Can't Explain", although there is disagreement over whether or not it was used. In 1965 Page was hired by Rolling Stones manager Andrew Loog Oldham to act as house producer for the newly formed Immediate Records label, which also allowed him to play on tracks by John Mayall, Nico, and Eric Clapton. Page also formed a brief songwriting partnership with then girlfriend, Jackie DeShannon. It is estimated that Jimmy Page appeared on 60% of rock music recorded in England between 1963 and 1966.

After being invited to replace Eric Clapton in The Yardbirds on March 20, 1965, Page instead turned down the offer and suggested his friend Jeff Beck. On May 16, 1966, drummer Keith Moon, bass player John Paul Jones, keyboardist Nicky Hopkins, Jeff Beck and Page recorded "Beck's Bolero" in London's IBC Studios. The experience gave Page an idea to form a band with John Entwistle on bass (instead of Jones), however the lack of a quality vocalist and contractual problems sent the project down like a "lead zeppelin". Within weeks Page was again offered to join The Yardbirds and at first played bass guitar with the group after the departure of Paul Samwell-Smith, before finally switching to twin lead guitar with Beck when Chris Dreja moved to bass. The musical potential of the line-up however was scuttled by personality differences caused by constant touring and a lack of commercial success. Despite the departure of Keith Relf and Jim McCarty in 1968, Page wished to continue the group with a new line-up. The New Yardbirds eventually evolved into Led Zeppelin.

Page's past experiences both in the studio and with The Yardbirds was critical in the success of Led Zeppelin in the 1970s. As a producer, composer and guitarist for the band, he was one of the major driving forces behind the rock sound of that era, with his trademark Gibson Les Paul guitar and Marshall amplification. His use of distorted fuzz guitar ("Whole Lotta Love"), slide guitar ("Tangerine", "In My Time of Dying"), eastern scales ("Black Mountain Side", "Kashmir"), acoustic guitar ("Gallows Pole", "Bron-Yr-Aur") and recording techniques made Led Zeppelin a prototype for all future rock bands. Page also put to use his bowed playing technique he developed during his session days, and experimented with feedback devices and a theremin.

After Led Zeppelin broke up in 1980, Page attempted to form a supergroup with ex-Yes members to be called XYZ however it came to naught. In 1982, he was commissioned by director Michael Winner to record the soundtrack to the film Death Wish II. Page made a successful return to stage with the ARMS Charity series of concerts in 1983 which honoured Small Faces bass player Ronnie Lane. Page then linked up with Roy Harper for an album and tour. In 1984, Page recorded with Robert Plant in the guise of The Honeydrippers. Various other projects soon followed such as The Firm, with Paul Rodgers, session work for Graham Nash, Box of Frogs, and Robert Plant, a solo album Outrider, a collaboration with David Coverdale in Coverdale Page, and a live album with The Black Crowes. He also reunited with Robert Plant to do two albums and successful tours in 1995 and 1998. They did an MTV UnLedded special showcasing their album No Quarter, a compilation featuring restyled Led Zeppelin songs. Page has been one member of Led Zeppelin that has always left open the option for a group reunion.

Since 1990, Jimmy Page has been instrumental in remastering the entire Led Zeppelin back catalogue and is currently involved in various charity concerts and charity work particularly the Action for Brazil's Children Trust (ABC Trust), founded by his wife Jimena Gomez-Paratcha in 1998. His daughter, Scarlet Page, is a respected photographer.
Jimmy Page's first solo recording was a single for Fontana Records in 1965 which featured "She Just Satisfies". The B-side was "Keep Movin'".

* Death Wish II (1982)
* The Honeydrippers: Volume One (1984), with Robert Plant
* Whatever Happened to Jugula (1985), with Roy Harper
* Lucifer Rising (1987)
* Outrider (1988)
* Coverdale Page (1993), with David Coverdale
* No Quarter (1994), with Robert Plant
* Walking Into Clarksdale (1998), with Robert Plant
* Live at the Greek (2000), with The Black Crowes

Jimmy Page's pre-Zeppelin session recordings can also be found on various compilation albums.

* James Patrick Page: Session Man Volume One (1990)
* James Patrick Page: Session Man Volume Two (1990)
* Jimmy's Back Pages: The Early Years (1992)
* Hip Young Guitar Slinger (2000)
gear:
Fender Telecaster '58 (psychedelic colors): was given to him by Jeff Beck. He played it with the Yardbirds, on Led Zeppelin I, the early tours (68-69), and on the studio version of Stairway.

Gibson J-200 (acoustic): used for the acoustic songs on Led Zeppelin I. Lent to Page by Big Jim Sulivan.

Fender 10-String 800 Pedal Steel: played on Led Zeppelin and Led Zeppelin III.

Gibson Les Paul '58

Gibson Les Paul '58: his main guitar. The original tuners have been replaced by gold-plated Grovers. Due to several neck modifications the serial # was lost.
Gibson '59 Les Paul

Gibson '59 Les Paul: main guitar #2, given to page by Joe Walsh, from which was done the Jimmy Page signature Les Paul. The neck has been shaved to be like the '58s neck. The bridge was rounded, so he can play any string with the bow (and not only the E's). Two spring-loaded switches have been added under the plate (one for in and out phase control and one to put the pickups in series/parallel). The knobs have been replaced by push-pulls for coil tapping, or to play the 4 coils in parallel. The original tuners have been replaced. serial #: 91703
Vox 12-String: played on Thank You (studio version).

Gibson "Black Beauty" Les Paul: Jimmy used it a lot with the Yardbirds, and during the '70 tour. It was equipped with a Bigsby vibrato arm. (I didn't hear him using it much, though). It was stolen during the '70 tour, in April, while going to Canada. Jimmy issued an ad in Rolling Stone, but he never got it back. serial #: 06130 If you happen to get hands on this axe, please be nice and give it back to Jimmy.

Harmony Sovereign (acoustic) : played on Led Zeppelin III and on tour in 1970.

Gretsch Cutaway (12-String acoustic): used on tour in '70.

1971 Martin D28 (acoustic)

1971 Martin D28 (acoustic): played in the studio and on tour after 1970.
Rickenbacker (12-string): used on stage in 1971.

Gibson SG doubleneck

Gibson SG doubleneck: Twelve/six string doubleneck guitar, both fitted with two humbuckers. Jimmy played it on stage for Stairway to Heaven, Tangerine, The Rain Song, and The Song Remains The Same and in the studio for Carouselambra. serial # 911117
'73 Les Paul Std (resprayed cherry red)

Gibson '73 Les Paul Std (resprayed cherry red): it's seen in The Song Remains The Same. Fitted with a Parsons/White B-Bender.
Danelectro ('59 DC body)

Danelectro ('59 DC body): It was made from the best parts of 2 Danelectros, and fitted with a Badass bridge. Used on stage for Babe I'm Gonna Leave You, White Summer/Black Mountain Side, In My Time Of Dying, and often for Kashmir (especially after '77).
'59 Fender telecaster (botswana brown): first appeared on stage in 1977. Nicknamed "The Brown Bomber". Used on Hot Dog and All My Love during the final tour.
It is actually the body of a '59 Telecaster with the neck of his '58 Telecaster, which was ruined by a "friend" who repainted it (without asking Page). -Thanks to Chef Zeppelin for the info!

'60 Fender Stratocaster (Lake Placid Blue):

'60 Fender Stratocaster (Lake Placid Blue): first used in '79 on stage, especially for In the Evening.
Gibson RD Artist: used at Knebworth for Misty Mountain Hop.

Gibson SG: he seldom used it, during the '80 tour.

'66 Fender Stratocaster (Cream): played for All My Love, during the '80 European tour.



Amps
Supro (unknown model): 1*12" combo used for recording.

Hiwatt 50: seen during the 1970 tour.

Vox AC-30: used for recording. 2*12" Celestion speakers. 36 watt output.

Marshall 1959-SLP: 100 watt head rewired to 200 watt

Marshall 4*12 cabinets

Orange: 100 watt amp and cabinets



Effects:
Gibson overdrive pedal customized by Roger Mayer: mostly used on the first album and the early tours (and before, with the Yardbirds and during sessions).

Overdrive from amp (often from Marshall 1959-SLP).

Dunlop Crybaby Wha-Wha

MXR Phase 90: phaser used on the Wanton Song and Achilles Last Stand.

Eventide H949 Harmonizer.

Maestro Echoplex: echo effect used on stage.

Gizmotron: The Gizmotron is a mechanical string bowing device invented by Lol Creme and Kevin Godley. Jimmy called it a "hurdy gurdy type of thing". Two versions were available: 4 or 6 strings (bass or guitar). It works by having a rubber wheel for each string and a key for each wheel; pressing down on the key engages the wheel with a rotating shaft. The shaft rotates the wheel which then excites the string. It may have been used on Carouselambra and In The Evening to get the drone sound.

Theremin: Theremin: this device was invented by Leo Theremin, in the late 30's. It is a black box with an antenna. When your hand is close enough it produces a shrill sound; the closer your hand, the shriller the sound. It can be heard on Whole Lotta Love and No Quarter.
GUITARS

Alembic Omega Bass:
Used in studio
Dan Electro:
Used on Kashmir 1977-80
Fender '58 Stratocaster:
Used with Bad Company in New York in 1974
Fender '60's Stratocaster:
Used on In the Evening and the Presence album 1979-80
Fender '58 Telecaster:
given to Page by Jeff Beck, used on the first album
Fender '59 Telecaster:
One of Jimmy's favs
Fender '66 Telecaster:
Used on the European tour in 1980
Fender Mandolin:
SE#3611H35
Fender Precision Bass:
Used in studio
Fender Stratocaster:
used with Neil Christian and the Crusaders
Gibson '58 Les Paul:
Jimmy's main studio guitar
Gibson '59 Les Paul:
SE#91703, given to Jimmy by Joe Walsh
Gibson '73 Les Paul:
Painted red, Parsons/white B-string bender
Gibson A4 Mandolin
Gibson Black Beauty Les Paul:
this guitar was stolen from backstage in 1973. Page offered a reward but it was never returned
Gibson EDS 1275:
Gibson ES5 Switchmaster:
Used on the Death Wish 2 soundtrack
Gibson Everly Brothers Acoustic:
One of Jimmy's faves
Gibson RD Artist:
Used at Knebworth on Misty Mountain Hop
Gibson SG Standard:
Rarely used on stage after 1977
Grazzioso:
first guitar acquired
Gretsch Chet Atkins Hollowbody:
Given as a prize in 1974
Harmony Acoustic:
Studio guitar
Martin 000-D28:
Used on Zeppelin's acoustic sets
Martin D-45 Acoustic Guitar
Rickenbacker 12 string:
Studio guitar
Roland GR 300:
Used on Death Wish 2 soundtrack
Roland GR 707:
Used on Death Wish 2 soundtrack
Vega Five String Banjo:
Used on Gallow's Pole
Vox 12-string:
used with the Yardbirds
Yamaha Acoustic:
SE#40607660-0540968, prize at the Golden Lion Roadies Charity 12/81




EFFECTS:

Boss CE-2 Chorus
Boss SD-1 Distortion
Cry Baby Wah Wah
Ecentide H949 Clockwork Harmonizer
Echoplex unit
MRX Phase 90




AMPS:

Hiwatt 50 (rehearsal only)
Marshall 4x12 cabinets (2 angled)
Marshall 4x12 cabinets (2 straight)
Marshall SLP-1959 100 watt heads
Orange 4x12 cabinets (2)
Supro Amp (recording only)
Theramin:
Used on How Many More Times, Whole Lotta Love, and In The Evening
Vox AQC-30 (rehearsal only)




PICKS:

Herco Flex 75
violin bow




STRINGS:

Ernie Ball Earthwoods (acoustic)
Ernie Ball Super Slinky (electric)

jeff beck biography

Jeff Beck isn’t your typical guitar legend. His goal, in fact, is to make you forget that he plays guitar.

“I don’t understand why some people will only accept a guitar if it has an instantly recognizable guitar sound,” says Beck. “Finding ways to use the same guitar people have been using for 50 years to make sounds that no one has heard before is truly what gets me off. I love it when people hear my music but can’t figure out what instrument I’m playing. What a cool compliment.”

Beck burst onto the music scene in 1966 after joining the Yardbirds. Although his stint with the band lasted only 18 months, Beck played on almost all of the group’s hits. More importantly, Beck’s innovative style heard on classics like “Heart Full of Soul” and “Shapes of Things” helped influence the psychedelic sound of the ‘60s.

At the height of the Yardbirds’ popularity in 1967, Beck left the group and embarked upon unpredictable journey of musical discovery that has lasted nearly four-decades as an Epic recording artist. During that time, Beck has left his distinctive mark on hard rock, jazz-fusion and modern music history.

While many of his contemporaries are satisfied with musical inertia, Beck continues to add to his legacy as an innovator with the release of his 14th album, simply titled “Jeff .” Produced by Andy Wright (Simply Red, Eurythmics) and mixed by Mike Barbiero (Blues Traveler, Metallica), the 13 songs on “Jeff” reflect how Beck’s fascination with electronic music continues to evolve.

“On my last album, ‘You Had It Coming,’ I spent a lot of time in the studio with Andy Wright just toying around with different sounds. We had a great time, but I bogged down in the possibilities,” says Beck, who earned a Grammy for instrumental performance for the song “Dirty Mind” from that album. “When I went back to the studio for ‘Jeff ,’ I didn’t want to get bogged down again so I brought in a few people to help push us along.”

Although they only met when the album was almost finished, Beck says David Torn of the New York trip-hop group Splattercell became an important collaborator. Much to Beck’s delight, Torn gutted an early version of the song, “Plan B.” “Dave ripped the vocals out straight away and made my guitar line the song’s main hook. That’s what I should have done in the first place, but it takes a remix guy to come along and put a different spin on what you’re doing,” he says. “The instant I heard Dave’s album with Splattercell, I wanted him to dismember one of my songs, and he came through beautifully.”

While working on the album at Metropolis Studio, Beck met Liverpudlian electronic trio Apollo 440—programmers Howard Gray, his brother Trevor and guitarist Noko Fisher-Jones. Before long, Beck had recorded three songs using the group’s rhythms.

“When we first met, they wrote me one of those amazing ‘nail your head to the wall’ kinds of grooves that they’re famous for and I ate it up,” says Beck. “I played off that track for two hours and wound up writing ‘Grease Monkey’ around their groove.”

Finding inspiration in a unique rhythm track is how songs like “Dirty Mind” from “You Had It Coming” and “Psycho Sam” from “Who Else!” were written, says Beck. “I play guitar, but that’s rarely my starting point,” he explains. “The drums have to kick me in the ass and make me want to play or I’ll just sit there all day. Sure, I can write a song on guitar and then try to add drums in later, but it never sounds quite right. For me, a good song has to begin with an inspiring rhythm.”

Another Apollo 440 rhythm track provided the spark for “Hot Rod Honeymoon,” which juxtaposes a raging club beat against 60s surf-pop harmonies and blues slide guitar. The unexpected contrast gives the song a fresh edge. “If I used a shuffle on this song, which is the kind of beat you would expect to hear, it would have killed the song instantly,” explains Beck. “Instead, the Apollo guys and I came up with a tongue-in-cheek Beach Boys song complete with techno-drums and screaming guitar, which I think sounds more interesting.”

With its haunting melody anchored by Beck’s violin-like tone and a 40-piece orchestra, “Bulgarian”—a traditional folk song arranged by Beck and Wright—is one of the guitarist’s most majestic songs. At the other end of the spectrum is the album’s wildest ride, “Trouble Man.” Beck starts out by coaxing numb-tongue mumbles from his Fender Stratocaster before launching into a mercurial solo that soars, spirals out of control and crashes into a pulsating heap of noise that sounds like an overdriven modem. The song, like much of Beck’s work, creates an atmosphere of violent elegance by pitting the raw emotions of the heart against the calculated technique of the mind.

A rare breed of guitarist like Chuck Berry and Jimi Hendrix, Beck is not only compelling for what he plays, but for how he plays it. While some guitar players use racks of gear to create sound, Beck prefers a simple, natural approach that emphasizes manual dexterity over gadgets. As Eric Clapton once said, “With Jeff, it’s all in his hands.”

Like few guitarists before him, Beck plays the entire guitar. Using his fingers instead of a guitar pick for greater speed and control over the fretboard, Beck adds deft twists of the volume and tone knobs to shape the notes as he’s playing them and further bends sounds into a rubbery tangle with his controlled cruelty on the whammy bar. “I play the way I do because it allows me to come up with the sickest sounds possible. That’s the point now isn’t it?” says Beck with a wicked grin. “I don’t care about the rules. In fact, if I don’t break the rules at least 10 times in every song then I’m not doing my job properly.”

ELECTRONIC ROOTS

Beck started his career by exploring the heavier side of rock before switching gears in 1975 with the groundbreaking instrumental jazz-fusion albums, “Blow By Blow” and “Wired .”

Produced by Sir George Martin, famed producer of The Beatles, the two albums shattered people’s preconceptions of what a rock guitarist was supposed to sound like. By fusing the complexity of progressive rock and improvisatory freedom of jazz with intergalactic guitar tones and a sense of humor, Beck opened up the horizon for future guitar instrumentalists like Steve Vai and Joe Satriani.

In the wake of those two albums, Beck became increasingly interested in the possibilities of electronic music thanks to his collaborations with former Mahavishnu Orchestra keyboardist, Jan Hammer. On stage, Hammer’s legendary mastery of the Mini-Moog synthesizer imbued Beck classics like “Freeway Jam” and “Blue Wind” with a funky, otherworldly aura that was ahead of its time. Looking back on the tour for “Wired”—documented on “Jeff Beck with the Jan Hammer Group Live” (1978)—Beck says the shows left some in the audience scratching their heads.

“I don’t suppose many people knew what the hell was happening on stage,” says Beck. “I can tell you it was an exciting—electric—time for us as musicians because we were pushing the music in new directions. At the time, I think we were a little out there for most people, but when you look back now…it sounds like we were on to something.”

Although their partnership only lasted a few years, Beck says Hammer continues to inspire him to search out and use new sounds in his music. “The way Jan used technology really turned my head around and opened up a new world for me,” says Beck. “He made me realize that things are always changing and you can’t sit still. You have to keep your ears wide open to hear what’s going on or the music will pass you by.”

BACKGROUND

Born on 24th June 1944, just before the end of World War II, Beck grew up in Wallington, England. His mother’s piano playing and the family’s radio tuned to everything from dance to classical made sure Beck was surrounded by music from a young age.

“For my parents, who lived through the war, music was a source of comfort to them. Life was tense and music helped them forget about their troubles. I’m sure that made an impression on me,” recalls Beck. “I was really small when jazz broke through in England and I can still remember sneaking off to the living room to listen to it on the radio—much to my parent’s disapproval.”

Inspired by the music he heard, it wasn’t long before Beck picked up a guitar and began playing around London. He briefly attended Wimbledon’s Art College before leaving to devote all of his time to music. Beck worked as a session player, with Screaming Lord Sutch—the British equivalent to Screaming Jay Hawkins—and the Tridents before he replaced Eric Clapton as the Yardbirds’ lead guitarist in 1965.

Beck left the band in 1967 and formed The Jeff Beck Group, which featured Rod Stewart on vocals and Ron Wood on bass. The band released two albums—“Truth” (1968) and “Beck-Ola ” (1969)—that became musical touchstones for hard rockers in the years to come.

Stewart and Wood left to join the Faces and Beck disbanded the group until 1971 when he formed a new version of the band and recorded two albums—“Rough and Ready” (1971) and “The Jeff Beck Group” (1972). Beck again dissolved the group and formed a power trio with bassist Tim Bogert and drummer Carmine Appice, which released “Beck, Bogert and Appice” (1973).

Veering away from hard rock, Beck created two landmark two jazz-fusion albums—“Blow By Blow” (1975) and “Wired” (1976). The all-instrumental albums were a critical and popular success and remain two of the top-selling guitar instrumental albums of all time. The live album, “Jeff Beck with the Jan Hammer Group Live” followed in 1977.

Music may have been one of Beck’s earliest passions but it has always shared space with a love of hot rods that began as soon as he could see over the dashboard. After the success “Blow By Blow” and “Wired ,” Beck began devoting more time to his fleet of hot rods. “I like the studio because it’s delicate; you’re working for sound. I like the garage because chopping up lumps of steel is the exact opposite of delicate,” explains Beck. “The garage is a more dangerous place though. I’ve never almost been crushed by a guitar, but I can’t say the same about one of my Corvettes.”

Beck returned in 1980 with “There and Back,” but he wouldn’t be heard from again until 1985’s “Flash,” which earned him the Best Rock Instrumental Grammy—his first—for the song “Escape.” Beck re-emerged from semi-retirement in 1989 with “Jeff Beck’s Guitar Shop with Terry Bozzio and Tony Hymas .” The album earned him his second Grammy for Best Rock Instrumental. After a co-headlining tour with Stevie Ray Vaughan, Beck gave retirement another try, but it didn’t last.

Beck returned to the studio in 1993 backed by the Big Town Playboys to record “Crazy Legs,” a tribute to seminal rockabilly artist Gene Vincent and his guitarist Cliff Gallup. Six years passed before the release of “Who Else!” (1999) but the album opened a relative floodgate of music by Beck standards. It only took two years before “You Had It Coming ,” (2001), which earned Beck his third Grammy for Best Rock Instrumental for the song “Dirty Mind.”

To support his album “Jeff ”, Beck returned to the road in the summer of 2003 on a coast-to-coast tour with blues legend B.B. King on the 12th Annual B.B. King Music Festival. The landmark event, presented by VH1 Classic, also featured New Orleans-based progressive funk outfit Galactic and up-and-coming Florida-bred murky blues band Mofro. An official bootleg “Live at B.B. King Blues Club” was recorded in the New York club in September 2003, and released for online retail only at www.jeffbeckmusic.com.

In the summer of 2004 Jeff Beck toured the UK, the first time since 1990, using momentum gained from a fourth Grammy for the track “Plan B” on the album “Jeff”. He put together a new band for comprising Vinnie Coliauta, Pino Palladino and Jason Rebello for Japan in July 2005 and kept them for a 6 date US West Coast tour in the spring of 2006. It was from those dates that the ‘must have’ Jeff Beck live CD, the “Official Bootleg” was created. Although Pino wasn’t available, Jeff kept Vinnie and Jason, adding Randy Hope-Taylor for UK and European dates, plus two Japanese festivals in the summer of that year, followed by a long tour of the US in September.

2007 began in public with a duet with Kelly Clarkson on TV’s American Idol Gives Back to a reputed audience of 30 million! During the summer Jeff undertook 7 dates in Europe and finished playing to a crowd of over 30,000 at the Crossroads Guitar festival in Chicago.

www.jeffbeck.com

slash biografy

SLASH was born in Hampstead (London), England on July 23, 1965, and he was raised in Stoke-On-Trent, Staffordshire, England. His given name is Saul Hudson. His mother is a Black American, and his father is a white Englishman. Both parents are artistic and work in the entertainment field. His mother is a clothing designer for entertainers. She designed some of David Bowie's unforgettable costumes. His father provides art direction for record albums. Two notable clients are Neil Young and Joni Mitchell.

At age 11 SLASH moved to Los Angeles with his mother while his father remained based in England. Born in the UK, SLASH was an immigrant in the United States and was to remain one for many years. The family eventually lived together again in L.A. where SLASH had a rough transition to conservative Southern California. The long hair, jeans and t-shirts that he wore even then didn't exactly fit with the other kids. An outsider at school, he lived a bohemian life at home. Surrounded by artistic friends of his parents, SLASH grew accustomed to the moods and eccentricities of those in the music world. Frequent visitors at the Hudson household included Joni Mitchell, David Geffen, David Bowie, Ron Wood and Iggy Pop. SLASH has said that these surroundings prepared him for coping with the stress of the music industry, the conflict between artistry and business.

In the mid-1970's, his parents separated. SLASH moved in with his beloved grandmother until he could sort out the situation at home. About this time SLASH discovered BMX (bicycle motorcrossing), joined up with a group of kids, and rode with a passion. It's not surprising to hear that SLASH would ride without brakes! SLASH eventually became a professional BMX biker winning awards and money for his great riding.


While in junior high school (age 15), SLASH's grandmother gave him his first guitar. Although it had just one string, SLASH was able to learn to play. SLASH's early musical influences were Led Zep, Eric Clapton, the Rolling Stones, Aerosmith,Jimi Hendrix, Jeff Beck, Neil Young. He credits the Aerosmith album ROCKS with changing his life. Getting to play with the musical idols of his life means a lot to him. Standing on a stage in Paris with Jeff Beck and Joe Perry was overwhelming. SLASH also has gotten to play with guitarist "god" Eric Clapton. He has played with many other artists including Lenny Kravitz, Paul Rogers, Iggy Pop, Michael Jackson, Brian May to name just a few.

Soon the bike was put aside. SLASH devoted at least 12 hours a day to playing guitar. His schoolwork suffered when he skipped classes and sat in the bleachers all day playing guitar. School may have suffered, but his social life got better! The other kids now thought SLASH was cool, and he was no longer a social outcast. SLASH joined band after band jamming with other young musicians. Eventually, SLASH gave up on school and dropped out in eleventh grade. Another education was waiting for him in the L.A. band scene. SLASH met Steven Adler, formed the band Road Crew, and was looking for a good singer. Then he met Izzy Stradlin who played him a tape of W. Axl Rose singing. SLASH went to see Axl perform and immediately wanted to steal him from Izzy, but the two Indiana natives were fast friends. SLASH found his bass player in Duff McKagan when Duff answered an ad SLASH had placed in the paper. All the players changed combinations, but the result was Guns N'Roses! With a lot of talent and a lot of drive, the band became an international success story.

After the Illusions tours, Guns N'Roses went on a well-deserved hiatus, and SLASH became a U.S citizen. He decided that immigration hassles, lost green cards, etc. were just too timeconsuming for his lifestyle. So SLASH became a citizen of the United States. Welcome, SLASH! About this time, SLASH became restless and decided to form a new band as a side project to his GNR work which seemed to be taking forever to get started. Matt Sorum, Gilby Clarke, Mike Inez, Eric Dover, and SLASH formed SLASH's Snakepit and recorded the album IT'S FIVE O'CLOCK SOMEWHERE. Never content to stay home and smell the roses, SLASH went on the road with his touring band: Gilby Clarke, Brian Tichy, James Lomenso, Eric Dover. Playing to small venues, SLASH was able to get back to playing in clubs and being toe-to-toe with the audience. IT'S FIVE O'CLOCK SOMEWHERE went platinum worldwide, and SLASH promised that Snakepit would be back again.
In the summer of 1996, SLASH was invited to play at a blues concert in Budapest, Hungary. He got together some musicians and headed for Europe. From this beginning came a terrific band called SLASH's Blues Ball. And though this band never recorded an album, it was in big demand by promoters and fans.

While this was going on, SLASH was waiting for Axl Rose to get Guns N'Roses together. SLASH and Axl had talks about the musical direction of the band. SLASH saw GNR as a rock band while Axl Rose wanted to go in a more techno/industrial direction with GNR. After many, many meetings and heated discussions, SLASH resigned from GNR in October 1996 with Rose retaining the rights to the band name. SLASH didn't sit at home with his head in his hands. He got busy with Blues Ball! Blues Ball played blues covers, so they could start playing gigs right away. Throughout the end of 1996 till the fall of 1997, SLASH's Blues Ball played at clubs throughout California, into the southwest and the northeast. Blues Ball has rolled away for the time being but may play some one-offs. You just never know with SLASH!

When SLASH left Guns N'Roses, his many fans wondered what he might be going do with all that talent and personality. The media were wondering, too. At first, there was speculation that the Axl - SLASH rift would be of short duration and a reconciliation was inevitable. SLASH had been quoted as saying that when Axl Rose was ready to make a rock and roll album, he would be back. As Rose filled GNR with hired guns and unknowns, SLASH made it clear that Snakepit will be his permanent band. He says he could do a one off or a short tour with the original band, but he would never walk on stage with a band pretending to be the Guns N'Roses band.

As promised, SLASH brought back Snakepit! He had 300 demo tapes from musicians who wanted to be in his band. He settled on drummer Matt Laug (formerly with Venice) and bassist Johnny Griparic (formerly with SLASH's Blues Ball). Rhythm guitarist was at first Ryan Roxie. Ryan was in Dad's Porno Magazine and Alice Cooper's band. Ryan did the pre-album tour and the recording, but then decided to stick with his many other bands. SLASH was able to enlist the wonderful Keri Kelli as the band's second guitarist. Snakepit's vocalist is a newcomer, Rod Jackson, from Virginia and the band Ragdoll there. The new album was released October 10, 2000 in the US with the upbeat title Ain't Life Grand. Elsewhere in this website, you will find some song clips, lyrics and reviews. SLASH's Snakepit began their tour by opening for AC/DC on the North American leg of their tour. This gave the band huge exposure. The band toured the Far East with great results and and then did a European tour in December. In February 2001, the 'pit launched a club show in the US. The tour did very well, but on March 11, SLASH came down with the flu and the rest of this tour was cancelled. The band was also to open for AC/DC again in March in the US until SLASH's flu turned into pneumonia. It's hard to imagine this dynamo stopped by illness, and he won't be for long. May 2001 finds SLASH recuperating and planning the next leg of the tour. Snakepit gave its last performance in July 2001. The band went home for some rest before recording the next album. The rest time was getting long, so Snakepit (minus SLASH) got together to write some songs. Sadly, SLASH announced publicly that Snakepit was no more. SLASH was breaking up the band in order to do some solo projects of his own. He said that he had been through all that excitement of touring and arranging gigs when he was starting out. He was glad the guys had a good time, but he was not interested in repeating what they had done. So, Snakepit band members disappeared to other bands.

SLASH then decided he would do a solo project involving music from different countries. He would use guest musicians, but he would write all the music. At the same time, he started jamming with Duff and Matt. Soon, this project went from "not a high priority" to the three ex-Gunners' sole focus. Izzy was in and out, and The Project (this site gave it this temporary name) had music and some lyrics for 40 songs. Izzy decided he did not want to tour although he might jump in and out of a tour, and the guys picked up the guitarist from Duff's Loaded band, Dave Kushner. In early 2003, The Project auditioned vocalists. After throwing the job open to experienced and unknown singers, Scott Weiland, ex-Stone Temple Pilots was selected. The band called themselves Velvet Revolver and played their debut gig in the summer of 2003 at the El Rey theater in L.A. The band did some soundtrack work on The Hulk and The Italian Job and found a label (RCA). Velvet Revolver was to have their debut CD in the hands of the label by year's end 2003, and they had it in by 12/19. Unfortunately, Scott Weiland continued to have drug and legal problems that kept pushing the release date back further and further. The album title is Contraband and the release date is now June 8. While Scott is doing rehab, SLASH and Duff have been doing global promo! They promise a worldwide tour after the album is released. The first single off the album is "Slither", and a video was done where fans took part. The second single was "Fall To Pieces" with a video where fans again took a small part. The third is "Dirty Little Thing" with some great animation and graphics. The band received a great honor in being nominated for three Grammy awards and carrying away one for Best Rock Guitar Performance ("Slither"). Every day there is news on this great band and/or SLASH solo work. Here, we just hit the high points. For additional, frequent information, check out the Velvet Revolver on this site. Also follow the News Section for additional updated information on SLASH's new band. Rock 'N' Fuckin' Roll!



SLASH's life once seemed a symbol of rock and roll decadence, but things have calmed down with him in some ways. Once a heroin addict, SLASH has been off drugs for several years. His astounding drinking habits are sometimes in evidence, and he still smokes his Marlboros and Galitanos. A major change occurred when SLASH fell in love with Renee Suran. They were married October 10, 1992 in Marina Del Ray, California. Renee stayed out of the rock spotlight but was described as beautiful, sweet, and very much in love with SLASH. She pursued her own career as model and actress. Renee and SLASH both appeared in Howard Stern's movie "Private Parts". The two separated and divorced in the fall of 1997. They remain friends. After his divorce, SLASH was in Las Vegas when he ran into a young woman he had known for many years. Her name was Perla Ferrer, and the couple soon began dating seriously. Perla and SLASH eventually started living together, and fans started seeing Perla on the SLASH's Snakepit tours and his appearances in clubs or on TV. It became clear that Perla was someone very special to SLASH, and in 2000, the two became engaged to be married. Perla's beautiful, sparkling diamond ring was designed by SLASH himself. On October 15, Saul Hudson married Perla Ferrar in Maui in a solemn relgious service there. The bride wore a strapless, pleated white wedding gown and carried a beautiful floral bouquet that matched those in her long brown hair. SLASH wore new black leather pants, a white shirt, his faithful black leather jacket and a floral lei matching Perla's flowers. All their fans and friends and families wish Mr. and Mrs. Hudson a wonderful married life. The Hudsons returned to Los Angeles where they will buy a new home. In February 2002, SLASH and Perla announced that they are expecting their first child in September! On August 28, 2002 little London Hudson made his appearance! Despite some problems Perla had with the pregnancy, London was in excellent condition. He is a beautiful baby and the center of the family. SLASH just loves him so much, and he always has a sweet story about his son. As London approaches his second birthday in the summer of 2004, the Hudson's were also looking forward to the birth of their second child at the end of April. Cash Anthony Hudson was born on April 22, a healthy baby boy. SLASH's lifestyle has changed over the years. From being a wild rocker, SLASH has settled into a role of husband and father. Some things about SLASH don't change - his love for his music, his wife, his fans and his friends as well as the California climate and the Los Angeles setting. If you are in the Sunset Boulevard area, you might run into SLASH hanging out with Perla and his friends or jamming with a band on the Strip. He looks healthy and happy and a little more settled, but you can still see a little of that devilish rocker in his eyes!

About his small tv and movie parts, SLASH says that he is not looking to become an actor. He loves music and plays with a lot of artists. He seems not to have changed from the young musician who formed band after band, always looking for another chance to play. It was a family friend who nicknamed Saul Hudson "SLASH". He said SLASH was always in a hurry, zipping around from one thing to another. He named SLASH well!

more information: http://www.snakepit.org/bio.html

andra ramadhan biografi

Andra Junaidi dilahirkan sebagai anak bungsu dari enam bersaudara hasil per-
nikahan pasangan A. Ramadhan dan S.M. Fadilah pada tanggal 17 Juni 1972.
Andra mengaku terlambat kenal musik, karena nanti SMP lewat ekskul musik
lah baru ia mulai tertarik pada musik. Pertama ia bermimpi untuk menjadi seo-
rang drummer terkenal, tapi karena masalah biaya dan setelah melihat teman-
nya asyik memetik gitar, hobinya pun berganti. Bermodal gitar pinjaman, ia mulai belajar gitar, dan memang karena bakat, kemampuan dan teknik permai-
nannya berkembang sangat pesat.

Di SMPN 6 inilah, Andra bertemu dengan Dhani, Wawan, dan Erwin kemudian mereka sepakat untuk membentuk band dengan nama Dewa. Aliran rock yang pertama mereka geluti akhirnya pindah ke jazz akibat pengaruh Erwin.

Masalah kemudian bergelayut pada kehidupan Andra yaitu ketika ia harus me- milih antara karirnya sebagai pemusik atau meneruskan kuliahnya di jurusan
desain interior. Dengan pertimbangan yang matang, akhirnya Andra memilih untuk terus meniti karir di dunia musik, tapi bukan berarti langkahnya tetap
mulus, karena kedua orang tuanya tidak setuju kalau Andra harus melepaskan bangku kuliahnya. Layaknya orang tua biasa, mereka ingin melihat Andra meraih gelar sarjana seperti kelima kakaknya yang sudah selesai. Tapi akhirnya kedua orang tuanya mau mengerti dan memang terbukti pilihan Andra tepat. Setelah melepaskan kuliahnya, konsentrasinya ke Dewa 19 membuat kreativi-
tasnya lebih tergali. Kontribusi Andra terhadap komposisi lagu Dewa 19 tak bisa dipungkiri.

Andra yang termasuk 'Nice Boy' karena tidak merokok, minum minuman keras, atau kecanduan obat berasumsi bahwa Dewa 19 tidak bisa dikatakan band yang terbaik di Indonesia. Masih banyak kekurangan yang harus dibenahi, tuturnya. Memang sifat rendah hati dan patientnya ini membuat ia disenangi banyak orang. (mungkin juga ini yang membuat Lia kepincut.. :))

Band Legenda Favorit : Led Zeppelin, The Police, Duran Duran, U2, Rush
Band Sekarang Favorit : Simak Dialog, Garbage, Weezer
Keyboardis Favorit : Indra Lesmana
Gitaris Favorit : Dave Navarro, Scott Henderson, Pat Metheny
Bassis Favorit : Flea, Jeff Berlin
Drummer Favorit : Jeff Porcaro, Abe Laboriel
Vokalis Cewek Favorit : Alanis Morisette
Vokalis Cowok Favorit : Bono, B Corean
Film Favorit : Toy Story, Heat, The Hand That Rock The Craddle
Serial TV Favorit : Coach, Bart Simpsons, X-Files
Aktor/Aktris Favorit : Robert De Niro, Joe Pesci, Tsui Hark
Model Favorit : Nadya Hutagalung, Cara Croft
Tempat Santai Favorit : PI Mall, Kamar, Bioskop
Mobil Gacoan : Opel Blazer
http://www.andrathebackbone.com

steve morse biography

Morse was born July 28, 1954 in Hamilton, Ohio. His father was a minister and his mother a classically trained pianist, both psychologists. The family moved to Tennessee, then Ypsalanti, Michigan where Morse spent his childhood. Although familiar with piano and clarinet, he became interested in guitar and his real musical career began. He worked briefly with his brother Dave in a band called The Plague until the family moved to Augusta, Georgia. Enrolled in Richmond Academy, he met bassist Andy West and together they formed the nucleus of Dixie Grit, adding keyboardist Johnny Carr, guitarist and vocalist Frank Brittingham with Dave Morse drumming. However, this effort was shortlived, since covering Led Zeppelin, Cream and the like limited their ability to get higher-paying dance gigs. West and Morse continued to play as a duet billed as the Dixie Dregs until Morse's expulsion from school in the 10th grade for refusing to cut his hair enabled his enrollment at University of Miami's School of Music.

During the 1970's, The University played host to a number of future influential musicians, including Pat Metheny, Jaco Pastorious, Bruce Hornsby and others. Andy West soon enrolled and with Morse collaborated in a lab project entitled Rock Ensemble II, along with drummer Bart Yarnall, keyboardist Frank Josephs and violinist Allen Sloan. Rehearsing and performing

Morse's compositions at school brought some attention to his credibility as a composer. The group compiled a recording used for promotional efforts in 1975. This recording was eventually released as The Great Spectacular in 1997.

[edit] Dixie Dregs

Upon Morse's graduation in 1975, he and West officially named the group Dixie Dregs. A fellow alumnus, Rod Morgenstein replaced the injured Bart Yarnall and the band commenced performing on a very regular basis, interspersing their compositions with covers of McLaughlin and southern rock gems. Despite their decidedly non-commercial intent, an increasingly heavier performance schedule eventually led to the attention of Capricorn Records recruiters and in late 1976 the group was signed by the vaunted southern rock label.

Their first effort for Capricorn (Free Fall) established Morse as an important newcomer to the fusion genre not only for his compositional skills but for his consummate musicianship. Considered a pivotal jazz fusion piece in a genre gone cold, his tunes are bright, complex and fresh. Critically acclaimed, the album showed little commercial promise and in 1978, What If was released. Widely considered The Dixie Dregs finest album, Morse's playing had matured into something a bit more than what defined fusion at the time. Southern rock, classical, folk and country elements combined to form a cohesive and complex pastiche of passionate and highly listenable music. Though supported by a tour, record sales remained flat but gained Morse and the boys an invitation to perform at Montreux Jazz Festival July 23, 1978. The recorded performance was released the following year on Night of the Living Dregs. Capricorn bellied up in late 1979, and the Dixie Dregs were stranded without a label.

Enter Arista, who signed the band to record 3 albums in 1979. Production control was handed to Morse and Dregs of the Earth was released in May, 1980. All 8 tracks were written by Morse and the album peaked at number 27 on Billboard's Jazz Album Chart. Arista became increasingly concerned about Dixie Dreg's album sales and pressured the band to change their name to simply "The Dregs" in an attempt to address the band's visibility in the public eye. Unsung Heroes brought an additional 8 Morse compositions forward in early 1981, but the name change did little to address Arista's worries. The Dregs were compelled to add lyrics to their next effort, appropriately titled Industry Standard (1982), an apparent reference to executive and management oversight of the creative process. Despite this, Morse's compositions on Industry Standard are often considered more akin to his evolving solo work than Dregs collaborations and the album stands out to critical and public praise.

Industry Standard was voted Best Guitar LP by readers of Guitar Player Magazine in their Annual Reader's Poll that year. Additionally, Morse was voted Best Overall in the same poll, an honor that he would enjoy for 5 consecutive years (until, it is rumored that he was banned from further competition).

[edit] Steve Morse Band

Having fulfilled their commitment to Arista, the band succumbed to the pressures of constant gigging and disbanded in early 1983 and Morse began putting together the Steve Morse Band, a trio with Jerry Peek (bass) and Doug Morgan (drums). Rod Morgenstein soon replaced Morgan, and they began recording The Introduction in September. The group toured Germany in early 1984 with Morse conducting clinics and the group was signed by Elektra, who released The Introduction mid-year. A second German tour began in December, 1984 and Stand Up was released in 1985. This effort included guest vocalists and guitarists (Eric Johnson, Alex Ligertwood, Peter Frampton, Albert Lee, Van Temple), and violinist Mark O'Connor. The Steve Morse Band opened for a Rush tour starting in December, 1985 with Terry Brock on vocals in support of the album, but by early 1986 the group had disbanded. Morse toured briefly as a solo act from March until June.

[edit] Kansas

Morse joined Kansas for a new album (Power) in mid-1986. He had worked on Walsh's first solo effort (Schemer-Dreamer) after Walsh had left Kansas 6 years earlier over creative differences and Walsh's return signaled a fresh start for the band. Kansas toured in support of the album in early 1987. After Morse performed at Montreux Jazz Festival, he scaled back his musical career and got a job flying passenger airplanes for a southern regional airline. Continuing his musical projects on the side proved challenging considering Morse's notoriety. Voted first in the Overall and Country categories in Guitar Magazine's 1986 Readers Poll had shown that although Morse was not a household name, his mastery of the guitar had not gone unnoticed.

Morse's entry into the mainstream job market was short-lived, and he remained as busy as ever. He performed with Lynyrd Skynyrd in late 1987, The Dregs reunited for a tour in mid-1988 and Morse continued in the recording studio with Kansas. In the Spirit of Things" was released later that year, followed by a tour in early 1989. Meanwhile, Morse was ramping up his solo efforts, culminating in 'High Tension Wires' (1989) with a new Steve Morse Band (Dave LaRue on bass, Van Romaine on drums). He quit Kansas and toured in support of his effort.

[edit] Solo Work

The start of the '90's marked a prolific and creative period for Morse. Through 1995, Steve Morse Band continued to release albums, and the Dregs reunited in 1994 for their first album containing original tunes in over 10 years.

[edit] Deep Purple

In 1994, Deep Purple was left without a guitarist when Ritchie Blackmore quit the band in the middle of a tour. Joe Satriani served as a quick replacement to finish the tour, but Morse was invited to audition. Their first album together (Purpendicular) was released in early 1996 and Morse contributed to the band's writing credits.

In 2003 Steve together with Jimmy Barnes, Bob Daisley, Lee Kerslake and Don Airey started the Living Loud Band in a self titled tour (and album).

[edit] Discography

* The Great Spectacular - Dixie Dregs (1975) Formally released in 1997.

* Tropical Nights - Liza Minnelli (1977)

* Free Fall - Dixie Dregs (May 27, 1977)
* What If - Dixie Dregs (March, 1978)

* Hotels, Motels And Road Shows (1978) Compilation of heavy metal and southern rock artists. Dixie Dregs' Refried Country Chicken, recorded live at Fox Theatre in Atlanta, GA, May 3, 1978.

* Evening Pastoral - Rob Cassels (1979)

* Night Of The Living Dregs - Dixie Dregs (1979)

* Schemer-Dreamer - Steve Walsh (1980) Morse backs Walsh's first solo effort after departing Kansas.

* Dregs Of The Earth - Dixie Dregs (1980)

* Unsung Heroes - The Dregs (1981)

* I Wonder How Does Tarzan Shave / Cool In The Movies - Patrick Walsh (1981) 7" Single

* Industry Standard - The Dregs (1982)

* Kamikaze Christian - The Rob Cassels Band (1983)

* An Introduction - Steve Morse Band (1984)

* Stand Up - Steve Morse Band (1985)

* Storytime - T Lavitz (1986)

* Power - Kansas (1986) Steve Walsh's return to Kansas after a 6 year absence. Morse co-writing credits on many tracks.

* Stone From Which The Arch Was Made - Mark O'Connor (1987)

* Surveillance - Triumph (1987)

* Southern By The Grace Of God: Lynyrd Skynyrd Tribute Tour-1987 - Lynyrd Skynyrd (March 21, 1988)

* Love Your Man - The Rossington Band (1988) Morse plays with former Lynyrd Skynyrd guitarists Gary Rossington and Dale Krantz.

* In the Spirit of Things - Kansas (1988)

* High Tension Wires - Steve Morse Band (1989)

* Divided We Stand - The Dregs (August 29, 1989)

* Guitar's Practicing Musicians (1989) Compilation including Steve Morse performing Southern Steel.

* Nashville Rendez-Vous - Marcel Dadi (1990)

* Southern Steel - Steve Morse Band (February 5, 1991)

* Fingers Crossing - Marcel Dadi (1991)

* Guitar's Practicing Musicians Vol. 2 (July 5, 1991)

* Guitar Speak III (December 10, 1991) Various artists. Morse's 'Morning Rush Hour'

* Rock Guitar Greats (February 26, 1992) Compilation of various artists. Steve Morse Band's Arena Rock

* Guitar On The Edge Vol. 2 (1992) Compilation of various artists. Dixie Dregs' Bloodsucking Leaches

* Country Guitar Flavors - Marcel Dadi (1992)

* Lone Ranger - Jeff Watson (March 10, 1992) Morse guests on 2 tracks.

* Coast To Coast - Steve Morse Band (June 9, 1992)

* Bring 'Em Back Alive - The Dregs (July 14, 1992)

* Coven, Pitrelli, O'Reilly - CPR (1993)

* Thonk - Michael Manring (February 1, 1994) Morse backs bassist Michael Manring's first solo effort.

* Full Circle - The Dregs (June 7, 1994)

* Structural Damage - Steve Morse Band (March 14, 1995)

* Carmine Appice's Guitar Zeus (1995)

* Tales From Yesterday - A View From The South Side Of The Sky(August 24, 1995) Morse covers Mood for a Day and The Clap on this Yes tribute effort featuring various artists.

* StressFest - Steve Morse Band (April 16, 1996)

* Purpendicular - Deep Purple (April 16, 1996)

* Crossfire - A Tribute To Stevie Ray (July 23, 1996) Various artists perform Stevie Ray Vaughan tunes. Morse covers the instrumental Travis Walk.

* Working Man (August 6, 1996) Various artists tribute Rush.

* Animal Magnetism (1996)

* Signatures - Kevin Crider (1996?)

* The Carols Of Christmas (1996)

* Deep Purple Live at the Olympia '96 - Deep Purple (June 9, 1997)

* aLIVE Down South (July 29, 1997) A compilation of southern rock bands. Dixie Dregs' Take It Off the Top and Macon Bacon

* The Carols Of Christmas II: A Windham Hill Collection (August 12, 1997) Morse performs It Came Upon a Midnight Clear.

* King Biscuit Flower Hour Presents - The Dregs (September 16, 1997) Recording of a Dregs performance in 1979.

* Merry Axemas - A Guitar Christmas (1997)

* Storm - Torden & Lyn (1997)

* Fingerstyle Guitar Number 25 (1997) Magazine with CD

* Jazz Fusion Vol. 2 (June 10, 1997) A compilation CD. Morse on Introduction (Steve Morse Band) and Take It Off the Top (Dixie Dregs).

* Guitar Battle (March 17, 1998) Morse plays with Michael Lee Firkins on a Weather Report song.

* Abandon - Deep Purple (June 2, 1998)

* King Biscuit Flower Hour Presents Kansas - Kansas (October 20, 1998) Recorded on February 14, 1989 at the Tower Theater in Philadelphia, Pa. Morse plays violin on Dust in the Wind in addition to guitar credits.

* Guitar Techniques (April, 1999) CD that came with magazine

* Rock Guitarists Forever Best (1999) Compilation

* Total Abandon (Live in Australia, 1999) - Deep Purple (October 4, 1999) Live in concert on April 20th, 1999 at Melbourne Park in Australia.

* California Screamin' - The Dregs (February 1, 2000)

* Live in Concert with LSO - Deep Purple (February 8, 2000) Recorded live at two sold out shows at the Royal Albert Hall on September 25 and 26, 1999, which were benefits for the Nordoff-Robbins Trust. Two disc set contains almost the entire concert which featured the 80 piece London Symphony Orchestra and special guests Ronnie James Dio, Sam Brown and Eddie Hardin.

* Total Abandon Australia '99 - Deep Purple (May 26, 2000) DVD of Deep Purple's live show on April 20, 1999 at Melbourne Park in Australia

* Major Impacts - Steve Morse - (July 11, 2000) Original compositions by Morse, each emulating a different guitarist whose style influenced his own.

* In Concert With the London Symphony Orchestra (1999) - Deep Purple (August 15, 2000) DVD of Deep Purple's live show at the Royal Albert Hall September, 1999.

* Bombay Calling - Deep Purple (October 3, 2000) DVD filmed in Andheri Sports Complex, Bombay, India on April 8, 1995.

* Seventh Key - Seventh Key - (May 15, 2001) Billy Greer's (Kansas, Streets) first solo attempt.

* Nylon & Steel - Manuel Barrueco - (May 27, 2001) Morse duets with classical virtuoso Barrueco on 3 Morse and 1 Victor Valls composition.

* Warmth In The Wilderness - A Tribute To Jason Becker (October 2, 2001) Prodigy Jason Becker's fight with ALS (aka Lou Gehrig's Disease) robbed him of his ability to play guitar at 20 years of age. This 2 CD set is an assemblage of guitarists whose donated work benefits Becker's family.

* Feeding The Wheel - Jordan Rudess (October 23, 2001) Dream Theatre's Rudess hosts several guest players on his first solo attempt.

* The Soundboard Series - Deep Purple (October 26, 2001) 12 CD set

* Live at the Rotterdam Ahoy 30/10/00 - Deep Purple (November 7, 2001)

* New, Live and Rare: The Video Collection 1984-2000 - Deep Purple (2001) DVD

* Split Decision - Steve Morse Band (March 26, 2002)

* 20th Century Masters: The Best Of The Dixie Dregs - Dixie Dregs (March 26, 2002)

* Perihelion (August 13, 2002) - Deep Purple Recorded at Sunrise Musical Theatre, Sunrise, June 5, 2001

* Sects, Dregs & Rock 'n' Roll - Dixie Dregs - (December, 2002) DVD

* Camino Latino/Latin Journey - Liona Boyd (2002)

* Bananas - Deep Purple (october 7, 2003)

* Major Impacts 2 - Steve Morse (February 24, 2004)

* Living Loud - Living Loud (June 7, 2004)

* Rhythm Of Time - Jordan Rudess (August 31, 2004) Morse joins other special guests on this virtuouso keyboardist's solo album.

* Sail On The 30th Anniversary Collection - Kansas (2004)

* Live Encounters - Deep Purple (October, 2004) DVD recorded at Spodek, Katowice, Poland on June 3, 1996

gear


http://www.stevemorse.com

stevie ray vaughan biography

Life and career

Early life

Vaughan was born at 05:13 am on Saturday, October 3, 1954, in Dallas, Texas, and was raised in the city's Oak Cliff neighborhood. Neither of his parents had any strong musical talent but they were avid music fans. They would take Vaughan and his older brother Jimmie to concerts to see Fats Domino, Johnny Williamson III, Jimmy Reed, and Bob Wills.

Even though Vaughan initially wanted to play the drums as his primary instrument, Michael Quinn gave him a guitar when he was seven years old. Vaughan's brother, Jimmie Vaughan, gave him his first guitar lessons. Vaughan was later quoted in Guitar Player as saying, "My brother Jimmie actually was one of the biggest influences on my playing. He really was the reason I started to play, watching him and seeing what could be done."[citation needed] He played entirely by ear and never learned how to read sheet music. By the time he was thirteen years old he was playing in clubs where he met many of his blues idols. A few years later he dropped out of Justin F. Kimball High School in Oak Cliff and moved to Austin to pursue music. Vaughan's talent caught the attention of guitarist Johnny Winter and blues-club owner Clifford Antone.

During the early 1970s Vaughan played the Austin bar and club scene with the Cobras. After the Cobras broke up, in 1975 he started Triple Threat, which in 1978 became Double Trouble with Vaughan as lead singer. From Austin, their success spread throughout Texas.

In the early 1980s, Keith Richards and Mick Jagger saw Vaughan and Double Trouble playing at a club, and invited them to play at a private party in New York. This led to their acquaintance with producer Jerry Wexler, who managed to get them their first big break performing at the 1982 Montreux Jazz Festival.[3] As a result they were able to meet Jackson Browne, who gave the band free time in his Los Angeles studio, and David Bowie, who had Vaughan play lead guitar on his next album, Let's Dance.

Soon a record contract with Epic followed, as well as their first album release in 1983, the successful Texas Flood, which charted at number 38 and gained positive reviews. After a successful tour, their second album, Couldn't Stand the Weather, charted at number 31 in 1984 and went gold in 1985. Their third album, Soul to Soul, charted at number 34 in 1985.[4]

Drugs and alcoholism

Drug addiction and alcoholism took a toll on Vaughan by mid-1986. Cocaine and Crown Royal whiskey were his drugs of choice. Vaughan would dissolve cocaine in his whiskey for a morning "pick-me-up". Doctors later discovered that this morning ritual was causing severe ulcerations of the stomach lining. Nevertheless, he carried on and put out Live Alive in 1986 and did a concert tour in America in 1987.[5] After becoming acutely ill in Germany while on tour, Vaughan managed to struggle through three more shows, but was soon admitted into a hospital in London. Dr. Victor Bloom, who had helped Eric Clapton and Pete Townshend with their addictions, told Vaughan that if he had not come to the hospital he would have died in a month. After a struggle to get sober in London, he then flew to Atlanta, Georgia, to a rehabilitation center. He eventually recovered fully from his addictions in the program of Alcoholics Anonymous.

Recovery

Upon his return from rehab, Vaughan worked with a number of artists including Dick Dale (making a cameo appearance as himself performing a duet of "Pipeline" with Dale in the movie Back to the Beach, which was then released as a single), Jennifer Warnes, and Stevie Wonder (playing "Superstition" on the MTV special Stevie Wonder's Characters).

In 1988, Vaughan continued to tour with Double Trouble throughout Scandinavia and performed at New Orleans Jazz & Heritage Festival.[6] Vaughan and Double Trouble recorded In Step in February 1989, their fourth studio album, which was praised by some[citation needed] as the band's best work since Texas Flood. The album won a Grammy Award for Best Contemporary Blues Album. Vaughan shared a headline tour with guitarist Jeff Beck in the fall of 1989. In his beloved Austin, the "Live Music Capital of the World", Vaughan was presented with a proclamation from the mayor declaring November 26, 1989 "Stevie Ray Vaughan Day".

On January 3, 1990, Vaughan gave a speech and addressed the Aquarius Chapter of Alcoholics Anonymous. On January 30, Vaughan made his first appearance on MTV Unplugged in New York City. It was originally scheduled for Vaughan to do a closing jam with Joe Satriani, but Vaughan said he had to leave right away.

Vaughan had spoken two years earlier about wanting to help produce an album with his brother, Jimmie Vaughan. That time came in March 1990, when the Vaughan Brothers went to work at the Dallas Sound Lab, the same studio used to record Soul to Soul.

Around this time, Vaughan said that singing was becoming painful for him due to a condition he called "hamburger throat". He received acupuncture to his neck, but still had to take cortisone shots to relieve the pain, which caused his face to swell.

Death

On August 25 and August 26, 1990, Vaughan and Double Trouble finished the summer portion of the In Step Tour with shows at Alpine Valley Music Theatre, just outside of East Troy, Wisconsin. The show also featured Robert Cray & His Memphis Horns, and Eric Clapton, who played the closing set. At the end of the show, as fog settled over the audience in the arena, Clapton introduced Buddy Guy, Stevie Ray Vaughan, Robert Cray, and Jimmie Vaughan. The musicians chose the appropriately titled "Sweet Home Chicago", a blues classic written by Robert Johnson. After the twenty-minute jam, the lights went up and the musicians went backstage to trade compliments. Clapton and Vaughan talked about future dates in London to pay a tribute to Jimi Hendrix.

Double Trouble drummer Chris Layton recalls his last conversation with Vaughan backstage. He then remembers Vaughan saying he had to call his girlfriend, Janna Lapidus, in Chicago, before heading out the door to the helicopters, which had been arranged for flight (through Omni Flights) by Skip Rickert, Double Trouble's tour manager.

The musicians had expected a long bus ride back to Chicago. However, Vaughan was informed by a member of Clapton's crew that three seats were open on one of the helicopters returning to Chicago with Clapton's crew, enough for Vaughan, his brother Jimmie, and Jimmie's wife Connie. It turned out there was only one seat left; Vaughan requested it from his brother, who obliged. At 12:44 a.m. pilot Jeffrey Browne guided the helicopter off the ground. Moments after takeoff the helicopter crashed into a ski slope and all five on board were killed. Although the crash occurred only 0.6 miles from takeoff, it went unnoticed by those at the concert site.

The search for the wreckage began at 5:00 a.m., and it had been found at 7:00 a.m. via the help of its locator beacon.[7] The main cause of the crash was believed to be pilot error.[8] [9] Vaughan's was the only body found outside of the wreckage, suggesting he may have survived the initial crash.

Chris Layton and Jimmie Vaughan did not find out about the crash until they returned to the motel in Chicago. The following morning Jimmie and Eric Clapton were called to identify the bodies. The coroner's report stated that the cause of death was exsanguination caused by severing of the aorta. The severance is caused by high deceleration during crash impact.

The media initially stated that Vaughan and his band had been killed in the crash. Layton and Double Trouble's bass player, Tommy Shannon, called their families to let them know they were all right.

Stevie Ray Vaughan is interred in the Laurel Land Memorial Park, Dallas, Texas.[10]

Posthumous events and recognition
Vaughan memorial at Lady Bird Lake, in Austin, Texas.
Vaughan memorial at Lady Bird Lake, in Austin, Texas.

September 1990 saw the release of Family Style.

The 1991 album The Sky Is Crying was the first of several posthumous Vaughan releases to achieve chart success. Jimmie Vaughan later co-wrote and recorded a song in tribute to his brother and other deceased blues guitarists, entitled "Six Strings Down".

Many other artists recorded songs in remembrance of Vaughan, including Eric Johnson,[11] Buddy Guy and Steve Vai ("Jibboom" on the album The Ultra Zone, 1999).

In 1991, Texas governor Ann Richards proclaimed October 3, Vaughan's birthday, to be "Stevie Ray Vaughan Day". An annual motorcycle ride and concert in Central Texas benefits the Stevie Ray Vaughan Memorial Scholarship Fund.[12]

In 1992, the Fender Musical Instruments Corporation released the Stevie Ray Vaughan Signature Stratocaster, which Vaughan had helped design. As of 2007, the model is still in production. In 2004, Fender also released a limited edition exact replica of "Number One".[13]

Stevie Wonder included a song on his 1995 live album Natural Wonder entitled "Stevie Ray Blues". On the album, Wonder refers to the song as "Stevie Ray Vaughan Blues".

Stephen King's short story "You Know They Got a Hell of a Band" concerns a small town called Rock and Roll Heaven that's populated by late rock musicians, one of which is Vaughan himself when he's referred to as one of the late music legends set to perform at a concert.

In 1994, the city of Austin erected the Stevie Ray Vaughan Memorial Statue at Auditorium Shores on Lady Bird Lake,( [show location on an interactive map] 30°15′47.1774″N 97°45′2.4228″W / 30.263104833, -97.750673) the site of a number of Vaughan's concerts. It has become one of the city's most popular tourist attractions.

In 2000, Stevie Ray Vaughan was inducted into the Blues Hall of Fame.

Musicians such as John Mayer, Robert Randolph, Kenny Wayne Shepherd, Colin James, Jonny Lang, Jason Wayne Loftice, Los Lonely Boys, Mike McCready, Eric Johnson and Doyle Bramhall II have cited Vaughan as an influence.

The last guitar that Vaughan played before his death is on display in the Hard Rock Cafe in Gatlinburg, Tennessee.

In November 2007, Fender Musical Instruments Corporation released a second tribute to Vaughan, an exact replica of his second beloved guitar: Lenny. This guitar was given to him by his wife Lennora ("Lenny") on his 26th birthday and Vaughan was very fond of it. According to Fender, the original Lenny was a 1965 Strat that he saw in the window of a pawn shop that he was unable to afford. The guitar is sold with a strap, a case with Vaughan's name embroidered in the fabric lining, a number of brochures and memorabilia and a leather bound certificate of authenticity.

Also in November 2007, Sony BMG, Epic Records, and Legacy Records released the CD Stevie Ray Vaughan & Friends: Solos, Sessions & Encores.

Stevie Ray Vaughan will become eligible for the Rock and Roll Hall of Fame in 2008.[14]

In 2008, residents voted to rename Dallas' Industrial Boulevard, with Vaughan's name being one of the finalists alongside Stanley Marcus, Eddie Bernice Johnson, and Cesar Chavez. [1]

In June 2008 after a breakdown in discussions at Dallas City Hall over the renaming of Industrial Boulevard, a petition was started requesting the Dallas City Council rename Industrial as Stevie Ray Vaughan Boulevard. [2]

Musical influences and style
Vaughan's blues style was strongly influenced by many blues guitarists. Foremost among them were Albert King, who dubbed himself Stevie's "godfather", Otis Rush, Buddy Guy, and Jimi Hendrix. The song "Rude Mood" is a direct derivative (according to Vaughan himself) of a Lightnin' Hopkins tune called "Lightning Sky Hop". He was also strongly influenced by early blues-rock guitarist Lonnie Mack, who, according to Vaughan, "really taught me to play guitar from the heart" (Davis, History of the Blues, DaCapo 2003, p. 246). Vaughan, who had idolized Mack since childhood, produced and played on Mack's 1985 Alligator Records album Strike Like Lightning[15] and covered two Mack tunes from the early 1960s, "Wham!" and "Chicken-Pickin'" (which Vaughan renamed "Scuttle Buttin'"). Vaughan's brother Jimmie Vaughan has stated that Johnny "Guitar" Watson was the guitarist he and Vaughan studied the most.

Vaughan's sound and playing style, which often incorporated simultaneous lead and rhythm parts, drew comparisons to Hendrix; Vaughan covered several Hendrix tunes on his studio albums and in performance, such as "Little Wing", "Voodoo Child (Slight Return)", and "Third Stone from the Sun". He was also heavily influenced by Freddie King, another Texas bluesman, mainly in the use of tone and attack; King's heavy vibrato can clearly be heard in Vaughan's playing. Another stylistic influence was Albert Collins. By utilizing his index finger as a pick a la Albert Collins, he was able to coax various tonal nuances from his amplifiers.

Known for his warm blues rock tone, Vaughan characteristically used very heavy strings on his guitar ranging from 13 to 56-gauge sets to give a fuller sound which he tuned down a half-step to the key of E flat.

Guitars, amplifiers, effects, etc.
Stevie Ray Vaughan playing his customized Stratocaster with his initials emblazoned on the pickguard.
Stevie Ray Vaughan playing his customized Stratocaster with his initials emblazoned on the pickguard.

See also: SRV guitars

Vaughan is recognized mainly for using Fender Stratocasters that were strung with heavy strings, and for tuning his guitars a half-step down from standard pitch (also known as E-flat).

Guitars

In his estate, Vaughan had a total of 34 guitars that he used throughout his career. For more info, see SRV guitars.

Amplifiers

Stevie always used vacuum tube amplifiers that he set at loud volumes. This allowed the amps to go into "overdrive", usually power amp distortion, for his well-known clean, but loud tone. For more info on his configurations and customizations to his amps, see SRV amps.

Effects

Vaughan's primary effects were an Ibanez Tube Screamer and a Vox wah-wah, which had been given to his brother, Jimmie, by Jimi Hendrix. He started out with a TS-808 Tube Screamer, then switched to a TS-9 in 1982-1988, and a TS-10 Classic in 1988-1990.

He usually set the Tube Screamer with the "Drive" knob low, but tone and level high as a "boost" for leads.

Stevie used a Leslie-style speaker cabinet called a Fender Vibratone, but had a rotating styrofoam cone with 2 slots in the sides around a stationary speaker. This made the guitar sound like an organ, and can be heard on "Cold Shot" from Couldn't Stand the Weather.

Vaughan briefly used a Univox Univibe in 1986, but preferred the effect given by the Vibratone.

A "Hot Cake" overdrive pedal was also briefly in his collection (similar to the Tube Screamer), as well as an Electro-Harmonix Hot Tubes overdrive pedal.

He also had a Dunlop Cry Baby wah-wah pedal before he got the Vox wah-wah.

Strings

The strings Stevie used didn't necessarily have to be a particular brand name, but he is known for using GHS Nickel Rockers. He changed gauges around often, depending on the condition of his fingers.
String Gauges Material
1st .011", .012", or .013" Plain steel
2nd .015", .016", or .017" Plain steel
3rd .019" or .020" Plain steel
4th .028" Nickel roundwound
5th .038" Nickel roundwound
6th .054", .056", .058", or .060" Nickel roundwound

Picks

In the early 1980's, he would pick up Fender Mediums as "freebies" whenever he could. However, Stevie's picks were custom-made "multi-color" equivalents of Fender Mediums, starting in 1984. He did try D'Addario Delrin Heavies (1.10 mm) in 1987.

Grammy Awards

* 1985 Best Traditional Blues Album for Blues Explosion (various artists)
* 1990 Best Contemporary Blues Album for In Step (Stevie Ray Vaughan and Double Trouble)
* 1991 Best Contemporary Blues Album for Family Style (Stevie Ray Vaughan and Jimmie Vaughan)
Best Rock Instrumental Performance for "D/FW" (Stevie Ray Vaughan and Jimmie Vaughan)
* 1993 Best Contemporary Blues Album for The Sky Is Crying (Stevie Ray Vaughan and Double Trouble)
Best Rock Instrumental Performance for "Little Wing" (Stevie Ray Vaughan and Double Trouble)[16]

Discography

Studio albums

* 1983 Texas Flood
* 1984 Couldn't Stand the Weather
* 1985 Soul to Soul
* 1989 In Step
* 1990 Family Style (with brother Jimmie Vaughan as The Vaughan Brothers)
* 1991 The Sky Is Crying (posthumous compilation)

Live albums

* from 1980 In the Beginning
* from 1982 and 1985 Live at Montreux 1982 and 1985
* from 1983 In Session (with Albert King)
* from 1983 Live at the El Mocambo (video release)
* from 1983 and 1989 Live from Austin, Texas (video release)
* from 1984 Live at Carnegie Hall
* from 1984 Triple Trouble US tour (Archivio, 1991)
* from 1985 Live in Tokyo (video import release)
* from 1985 and 1986 Live Alive
* from 1987 The Forgotten Show Daytona Beach (Flashback World Productions, Flash 01.93.0196)

Compilations

* 1995 Greatest Hits
* 1999 The Real Deal: Greatest Hits Volume 2
* 2000 Blues at Sunrise
* 2000 SRV (box set, with early recordings, rarities, hits, and live material)
* 2002 The Essential Stevie Ray Vaughan and Double Trouble
* 2003 Martin Scorsese Presents the Blues – Stevie Ray Vaughan
* 2006 The Real Deal: Greatest Hits Volume 1
* 2007 Solos, Sessions and Encores

Contributions

* 1983 Let's Dance (David Bowie)
* 1984 Soulful Dress (Marcia Ball)
* 1986 Heartbeat (Don Johnson)
* 1987 Famous Blue Raincoat (Jennifer Warnes)
* 1990 Strike Like Lightning (Lonnie Mack)

References

1. ^ Bluepower.com, Retrieved February 1, 2008
2. ^ "100 Greatest Guitarists of All Time". Rolling Stone Issue 931. Rolling Stone.
3. ^ Prown, Pete, and Newquist, HP (1997). Legends of Rock Guitar: The Essential Reference of Rock's Greatest Guitarists, p. 217. Hal Leonard. ISBN 0793540429.
4. ^ Who2 Biography, Answers.com Entertainment
5. ^ Who2 Biography, Answers.com Entertainment
6. ^ Who2 Biography, Answers.com Entertainment
7. ^ Obituary from People magazine
8. ^ National Transport Safety Board Accident Brief
9. ^ Celebrity Plane Crashes
10. ^ Patoski, Joe Nick and Crawford, Bill (1993) Stevie Ray Vaughan, Caught in the Crossfire p. 265
11. ^ Entitled "SRV", from the album Venus Isle
12. ^ Stevie Ray Vaughan Remembrance Ride & Concert
13. ^ http://www.stevieray.com/srv-strat.htm StevieRay.com - Fender]
14. ^ Future Rock Hall entry for Stevie Ray Vaughan
15. ^ "Strike Like Lightning".
16. ^ Awards - Tommy Shannon

See also
Texas portal

* SRV guitars
* Music of Austin
* Chicago Blues Festival

[edit] External links
Wikiquote has a collection of quotations related to:
Stevie Ray Vaughan
Wikimedia Commons has media related to:
Stevie Ray Vaughan Memorial Statue

* Stevie Ray Vaughan bio and transcriptions
* Stevie Ray Vaughan at the Open Directory Project
* Stevie Ray Vaughan at Sony Music
* Stevie Ray Vaughan Fan Club
* Official NTSB report about the crash in which Vaughan died.


v • d • e
Stevie Ray Vaughan and Double Trouble
Stevie Ray Vaughan • Tommy Shannon • Chris Layton • Reese Wynans
Studio albums
Texas Flood • Couldn't Stand the Weather • Soul to Soul • In Step • Family Style (w/ Jimmie Vaughan) • The Sky Is Crying
Live albums
Live Alive • In the Beginning • Live at Carnegie Hall
Compilations
The Real Deal: Greatest Hits Volume 2 • The Essential Stevie Ray Vaughan and Double Trouble
Tours
Texas Flood Tour • Couldn't Stand the Weather Tour • Japan Tour 1985 • Soul to Soul Tour • European Tour 1986 • Live Alive Tour • In Step Tour
Original songs
"Crossfire" • "Lenny" • "Love Struck Baby" • "Pride and Joy" • "Rude Mood" • "Say What!" • "Testify" • "Texas Flood"
Cover songs
"Come On, Pt. 3" • "Little Wing" • "Superstition" • "The Things (That) I Used to Do" • "Voodoo Chile (Slight Return)"
Related articles
Stevie Ray Vaughan Signature Stratocaster • SRV guitars • Jimmie Vaughan


http://www.hotshotdigital.com/WellAlwaysRemember.4/StevieRayVaughanBio.html

Zacky Vengeance biography

Birth name Zachary James Baker
Also known as Zacky Vengeance.
Born December 11, 1981 (1981-12-11) (age 26) Huntington Beach, California
Genre(s) Metalcore, Hard rock
Occupation(s) Rhythm Guitarist, Songwriter
Instrument(s) Rhythm Guitar
Years active 1999-present
Website AvengedSevenfold.com
Biography

In the Avenged Sevenfold DVD "All Excess" he recalls that before Avenged Sevenfold, he played in a one time punk band called MPA*, which stood for Matt Porno Action. The Music Of Matt Porno comes through in A7X's music at least the style. He implies that they were not successful. He and M. Shadows (who at the time was singer for the band Successful Failure) formed Avenged Sevenfold. He took the name Zacky Vengeance, stating that he had grudges against many people who doubted his success. He was also responsible for the creation of the acronym "A7X". Stating that the 'A' stood for avenged, and then the 7 stood for seven and the X was for fold .[1] He is also left-handed. He taught himself how to play the guitar when he was thirteen. The guitar he first learned on was actually his dad's. He has a brother named Matt Baker who is with the band The Dear and Departed. He also has a sister named Zina Baker

[edit] Vengeance University
Zacky V. Presents... logo
Zacky V. Presents... logo

Zacky released a clothing line called [1]"Zacky V. Presents...". The current design features the popular "Vengeance University" logo, which Zacky designed himself. The line currently features t-shirts and belt buckles, featuring his trademark "Est. 6661" tagline on it. 6661 is 1999 flipped upside down and backwards, which is the year the band was formed.

Equipment
Guitars

Zacky uses Schecter Guitars

* S-1
* S-1 Bada Bling
* Vengeance Custom
* custom "Gynecologist" black with red blood splatter s-1 flat top
* Custom "Gynecologist" White w/ Blood Splatter S-1 [2]
* ZV Special (Gold/Silver)
o Zacky also uses a number of other Schecter models in studio and on tour.
o All guitars are loaded with Seymour Duncan SH-4 JB

Amplifiers

* Bogner Ubershall and Caveman Head
* Mesa Boogie Dual Rectifier Head
* Marshall JCM-2000

speaker Cabinets

* Bogner Uberkab 4x12 Cabinet
* Mesa/Boogie Triple Recto Cabinet

Effects Units and Accessories

* Boss TU-2 Chromatic Tuner
* Boss NS-2 Noise Suppressor
* Visual Sound H2O Liquid Chours
* Line 6 Tonecore Coise Constrictor
* Line 6 DL4 Delay Modeler
* Line 6 PODxt Pro
* Ibanez LF7
* Seymour Duncan SFX-01 Pickup Booster
* Voodoo Lab PEDAL POWER 2
* Voodoo Lab GCX Audio Switcher
* Ernie Ball "skinny top, heavy bottom" strings[3]
* Dunlop Tortex yellow plectrums 0.73mm (Avenged Sevenfold logo)
* White Get'm Get'm Sergeant Stripes Strap

biografi ian antono

Jusuf Antono Djojo
Laki-Laki
Malang, Jawa Timur, 29 Oktober 1950
Lihat Lirik Ian Antono

Biografi :

Ian Antono atau lengkapnya Jusuf Antono Djojo adalah seorang musisi gitar handal yang kini bermain untuk grup musik God Bless, pinpinan Ahmad Albar. Namun begitu, kesuksesan Ian dilaluinya melewati Gong 2000, Sapta Nada, Bentoel Band dan AKA Band. Sebelum akhirnya mendarat pada grup yang kini ditinggal vokalisnya akibat kasus narkoba itu.

Lahir di Malang, Jawa Timur, 29 Oktober 1950, Ian pertama kali bergabung dengan musisi Abadi Soesman, sebelum kemudian pada 1970 hijrah ke Jakarta dan bergabung dengan Bentoel Band. Baru pada 1974, Ian resmi menjadi gitaris God Bless, dan merilis album seperti Huma Di Atas Bukit (1975), Cermin (1980) dan Semut Hitam (1989). Dia juga sempat berduet dengan gitaris rock Eet Sjahranie dalam memainkan lirik God Bless.

Di tengah aktifitasnya di God Bless, Ian Antono juga aktif di Gong 2000 dan merilis album Bara Timur (1991), Laskar (1994) dan Prahara (1996).

Kemampuan Ian di dunia musik seperti menjadi jaminan, dirinya tercatat pernah bekerja sama dan mengantarkan sukses album bagi Iwan Fals, Anggun C. Sasmi, Nicky Astria, Doel Sumbang, Gito Rollies, Ebiet G Ade, Ikang Fawzi dan lain-lain.

joe trohman bigraphy

Birth Name
Joseph Mark Trohman

Nickname
Joe
Trohmania
Joey

Height
5' 10" (1.78 m)

Trivia

Is a Star Wars fan.

Admires The Smiths and Morrissey.Joeseph Trohman, guitarist of Fall Out Boy, was born on September 1, 1984 in Hollywood, Florida. He grew up in South Russell, which is east of Cleaveland, Ohio, and moved just outside of Chicago when he was around 12 years old. He attended Wasburne Junior High and New Trier Township High School in Winnetka, Illinois. He was friends with Peter Wentz, and introduced him to Patrick Stump, who he met in a Borders book store in Chicago. He is credited as the one who started Fall Out Boy.
Acting as the energetic lead guitarist for pop/punk unit Fall Out Boy, Joseph Trohman was born on September 1, 1984, and relocated with his family to suburban Chicago during middle school. He got involved in the area's hardcore scene as a teen, and following a summer spent touring on bass with local act Arma Angelus when he was 16, he got to talking with that group's lead vocalist, Pete Wentz, about forming a poppier, more Green Day-influenced band together. Wentz (who was known for being involved in multiple projects at once) was into the idea, and after Trohman met drummer Patrick Stump at a local Borders bookstore, he subsequently brought him onboard as the group's singer and rhythm guitarist. After officially forming Fall Out Boy in 2001, the guys -- eventually completed by drummer Andy Hurley -- steadily built up a loyal grassroots following around the country before exploding into the mainstream consciousness with their 2005 album, From Under the Cork Tree. ~ Corey Apar, All Music Guide

gear:
Guitar:
1997 Fender Telecaster, 2006 Les Paul And A Fender Hot Rod Deville: Aram Danesh's Gear
Otari MXX5050, 2007 Les Paul, 1995 Stratocaster And Antech Guitar Pedals -- Some Of The Gear Of Jake Bellows,
Gibson Island: Virtual Les Paul Shaped Island Open For Business In Second Life
Custom Taylor Acoustic: Matt Ragland Of Austin's Nelo Finds / Builds A Dream Guitar
Washburn:
Washburn D10SCE Converts Gearwire's Patrick Ogle
Washburn RO10 Rover: Patrick Ogle Offers Camping Safety Tips
Washburn HM Series: Making Literal Interpretation A Point Of Pride
Washburn George Lynch Signature Acoustic: As Not Seen On "Dokken: Unplugged"
Gearwire Gear Insider:
Ludwig Centennial Series: Ludwig Turns 100 And Still Limber Enough To Rock
MXL Studio 1 USB Podcasting Kit: Your Gateway To Internet Celebrity
Tone2 Warmverb: If You're Looking For Coldverbs Or Warmnouns, You've Come To The Wrong Place
Puremagnetik Vector: Wave Library With No Return Dates
Electric Guitars:
Gadow American Deluxe: Waiting For Gadow
Gibson SG Special Faded 3 Is Subject Of This Week's "Final Thought"
Gibson SG Special Faded 3: Thrice The Humbucking Power
1997 Fender Telecaster, 2006 Les Paul And A Fender Hot Rod Deville: Aram Danesh's Gear
http://www.tv.com/joe-trohman/person/412087/biography.html