diablo175

All (straight) men, in some manner, at one point or another, pay to see tits.

B*tches always be wantin' to know how big my bank account be. B*tch, can't you see how many guitars I got? I flat broke.

Love this song and even like the Quiet Riot version (which we cover in the band) Carlos' solo is good fun!

Wish this was around (and known about) when I was dirt poor and hungry for affordable decent quality axes.

Ah, the missing link, er… person is Jedi? May the fourth be with you.

Just waiting on my trophy for most inconsistent player. I've earned it for 15 years in a row.

Yup.

A curious phenomenon- the more I've progressed as a guitarist, the more types of guitars I'm able to get along with. 🤔

Somehow this never got to me despite being contacted by you several times. I'm a very disappointed to have been denied the opportunity.

It’s the little things... Aftermarket replacement arms for Floyds that aren’t manufactured by Schaller! Just break down and shell out the additional couple of bucks for the real deal and don’t send along some ill fitting POS and expect this certified Floyd junkie not to fucking notice! 🤬

My guitar playing progress is best symbolized by a hamster wheel.

Oh hell, I'm a public school teacher. I don't make that kind of scratch either... but my wife does.

Ha ha ha! Tax refund, he says. WTF is that? 🤔

Aren't the vast majority of songs? I mean, directly or indirectly?

Yours was among several standouts in an all over solid collection IMO. The vocals, the arrangement, the melodies and the guitar tones were really strong! Just a real great tune. It prolly didn't hurt that you did on a Cali, too

This is a topic I deal with almost every day as an art educator. Critiquing is a valuable tool for instruction and learning; it can point out areas both of strength and weakness- or incongruity with established learning objectives or aesthetic 'norms'. It's those 'norms' that become a dodgy issue, given how art (of which, music is a major component) and people's sense of what is appealing is HIGHLY subjective. But critiquing should NOT be negative. I think we can all agree that constructive criticism can still point out shortcomings and make suggestions for improvement, provided they sidestep the quicksand of subjective interpretation or preferences. That's a tall MF order. Administered and received correctly, critiquing can be immensely helpful.

Can't say I was necessarily going for a full-on Eddie feel- yeah, I copped some EVH-inspired tricks (but I wouldn't amount to a pimple on the ass of even his guitar tech)- it was more the pop-ish aspect of Ed's writing, the supposed accessibility of a short-format pop song.

+1 Kiz has some of the details, or at least he asked for 'em. Poppy Metal was done with the invaluable help of Gary, drummer from my prog rock project, using e-drums, the bassist- Forrest- was a former bassist in the old cover band and, of course, me doing all guitars. Mixed and mastered by Pete Cippa at Crash Lab Studios in Bellmore, NY. I used 2 of my '89 Cali LE's: the BenCal striped one w/ a Gravelin BJB in the bridge for lead and the Calioactive w/ a Gravelin Mongoose for rhythm. All through my Fractal Axe FX3. I recorded mine and Forrest's parts on my iMac's Garage Band and sent the wav stems to Pete via Google Drive. Gary has Logic and sent his wav's to my G drive. The story of it's creation is equally uninteresting - about 5 or so years ago, I decided to write a more accessible, pop-ish hard rock/hair metal tune, vaguely in the style of VH. It kicked around in my solo practice sessions until 2 months ago when I decided to do something with some other HFCers. It seemed timely given EVH's demise and VH inspired the attempt at pop-y hard rock. So, I dusted it off and voila!

I was digging the tone you were working on your tune- nice growl-y tone. Perfectly suited to the bluesy swagger of your song. Channeled a lil' bit of Joe Perry? Oops. 😆

Right? I wanted to take several of my 'cobweb' tunes- ones that I've been kicking around for a decade or more- and finally give them a proper production. As it happened, a few weeks before Kiz announced the formation of the Vol 4, I had proposed a much smaller "Homage to Hamer" project with DBraz and Bennyboy. So, I had a bit of a head start on something once the news of Vol 4 broke. Happy to say that it has prompted a significant outpouring of follow-up projects and even some new writing. The holidays have been quite productive in that sense.

Wowzers! (Still) pleasantly surprised at the amount of talent and some of the really pro sounding tracks on this comp. The guitar tones were really good and there were some real strong song writing efforts. I just wanna know how guitarzandstuff revived Tom Petty to sing on Initial Kick.

A few weeks back, I came up with some riffs for a new tune that ended up channeling some serious Jerry Cantrell/AIC. I initially named it Smack Talk in reference to Lane Staley's struggle with heroin addiction and the theme of numerous AIC songs. But as I have no real personal understanding of or connection to that lifestyle, I decided to change it to A Year (I'll Never Get Back) referencing 2020. But then I started thinking that while 2020 sucked for a lot of people and it definitely had it's horrific points, it wasn't really that bad for me. Kinda contrived. Bah! Again, back to the song title drawing board. All the while, I was constantly revisiting and revising the riffs and parts. Each time I dug into a section, I'd find myself sucked into a bottomless hole where time evaporated. A quarter hour might as well have been a full hour. Every freakin' time I visited the song I'd lose another couple of hours. It was the musical equivalent falling into the rabbit hole. You know, the one in the Alice In (Chains) Wonderland? Now, the song's called Rabbit Hole. God, I suck at this.

Sadly, the ratio of digit speed and dexterity to guitar gimmicks and parlor tricks is inverse, in the time line of technique for this player. I never really was fast or nimble.