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  1. #81
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    Interesting mix of influences in there. A little bit of reggae... a little bit of funk... a little bit of surf guitar. Not really hearing Eddie's influence in there at all, but they seem like a decent band... even if none of them apparently want to sing.

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    Twonabomber will get a boner when he sees that Keytar!

    I like how she is influenced by Ed, but doesn't sound or play exactly like him. I'd like to go see this band in a small venue. I have to believe I'd be blown away seeing them up close and personal, live.

    I was a fan of Larkin Poe, before seeing them live, but seeing them in a super small venue, just blew me away. One of the best live shows I saw that year.

    It's funny Kristy likes this, as they are pretty much a jam band, yet she claims to hate jam bands like Tedeschi Trucks. With TTB you get an amazing jam band and a great voice with Susan Tedeschi, as well as some of the others they let sing. But hey, we all know she's a weird "girl".

    I wonder if Kristy likes Billy Strings?
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    Quote Originally Posted by Von Halen View Post

    I like how she is influenced by Ed, but doesn't sound or play exactly like him. I'd like to go see this band in a small venue. I have to believe I'd be blown away seeing them up close and personal, live.
    I do. There will never be another Eddie and although there are numerous guitar players out there who not only do their best to steal Eddie's style but his tone as well. I think Eddie's chorus tone was more prominent during the S P A M M Y years and I can hear that "influence" in Serra Petale's playing. What I don't hear is much of Robin Guthrie's of the Cocteau Twins playing. Robin was known for layering a lot of chorus to the point of overkill like doubling Fender 12 string Strats with Fender Jazz Masters through various amps to the point of overkill. Personally, I would not wipe my F A T American ass with a Cocteau Twins album and Guthrie's playing is so monotonous and boring to me although Liz's voice made up for it.

    Serra Petale's playing at least to me sounds like she came straight out of the school of Ennio Morricone you know, the guy who did those great Clint Eastwood soundtracks such as 'For A Few Dollars More' and 'The Good, the Bad, and The Ugly.' Los Bitchos are from London but they don't sound at all limey. "Cumbia" music with a tinge of a Turkish groove is refreshing compared the majority of shit like Olivia Rodrigo and Gracie Abrams and all that other throwaway "bad girl with an attitude" Disney Princess pop nonsense. Give me real musicians playing real instruments any day. I don't think they are jam band either. Far from it. No six-hour long guitar solos and unlike Derek Trucks they bathe themselves once in a while. I love to see them play live in a small venue as well. They are currently doing a small tour of the U.S. after doing South by Southwest but they are not coming to Denvoid this time around. They are coming to Seattle but slave FORD is too Koch-funded to care about quality music anymore.

    Surprised you like Larkin Poe. Thought they sucked not because they weren't any good but because they were on stage with Elvis Costello who can't sing worth a shit and walked all over Rebecca and Megan's vocal harmonies. He ruined that show.
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  7. #84
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    Quote Originally Posted by Kristy View Post
    I do. There will never be another Eddie and although there are numerous guitar players out there who not only do their best to steal Eddie's style but his tone as well. I think Eddie's chorus tone was more prominent during the S P A M M Y years and I can hear that "influence" in Serra Petale's playing. What I don't hear is much of Robin Guthrie's of the Cocteau Twins playing. Robin was known for layering a lot of chorus to the point of overkill like doubling Fender 12 string Strats with Fender Jazz Masters through various amps to the point of overkill. Personally, I would not wipe my F A T American ass with a Cocteau Twins album and Guthrie's playing is so monotonous and boring to me although Liz's voice made up for it.

    Serra Petale's playing at least to me sounds like she came straight out of the school of Ennio Morricone you know, the guy who did those great Clint Eastwood soundtracks such as 'For A Few Dollars More' and 'The Good, the Bad, and The Ugly.' Los Bitchos are from London but they don't sound at all limey. "Cumbia" music with a tinge of a Turkish groove is refreshing compared the majority of shit like Olivia Rodrigo and Gracie Abrams and all that other throwaway "bad girl with an attitude" Disney Princess pop nonsense. Give me real musicians playing real instruments any day. I don't think they are jam band either. Far from it. No six-hour long guitar solos and unlike Derek Trucks they bathe themselves once in a while. I love to see them play live in a small venue as well. They are currently doing a small tour of the U.S. after doing South by Southwest but they are not coming to Denvoid this time around. They are coming to Seattle but slave FORD is too Koch-funded to care about quality music anymore.

    Surprised you like Larkin Poe. Thought they sucked not because they weren't any good but because they were on stage with Elvis Costello who can't sing worth a shit and walked all over Rebecca and Megan's vocal harmonies. He ruined that show.
    Looking back, I think the most distressing thing about Eddie's influence - at least among most of the more known/'name' players who Eddie influenced - is that they really only seemed to take the flash aspect of Ed's style, and didn't really latch onto the fact that Ed was a great all-around rock player. Not just the soloing and the licks, but the riffs/chords/songs.

    Would readily agree there is only one Eddie. It always seemed weird to me - even more so circa early 2000s when all that EVH signature gear came out - that guitar players would run out and spend thousands upon thousands of dollars scooping up all that EVH gear, then learning Eddie's stuff note-for-note, then youtubing themselves trying to approximate what Eddie did:

    It had already been done.

    Early 1980s, hearing a player in a guitar store doing Eruption? Impressive.

    Thirty years later on youtube? Boring.


    Would be more impressive at this point to hear/see a youtuber guitarist doing something original that was good, rather than replicating someone else's licks.
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    Quote Originally Posted by Von Halen View Post
    Twonabomber will get a boner when he sees that Keytar!
    Nah. That's a cheap Yamaha. I got my vintage Casio!
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    Quote Originally Posted by Kristy View Post

    Surprised you like Larkin Poe.
    I love Larkin Poe. Took this pic.

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    Quote Originally Posted by Von Halen View Post
    Twonabomber will get a boner when he sees that Keytar!

    I like how she is influenced by Ed, but doesn't sound or play exactly like him. I'd like to go see this band in a small venue. I have to believe I'd be blown away seeing them up close and personal, live.

    I was a fan of Larkin Poe, before seeing them live, but seeing them in a super small venue, just blew me away. One of the best live shows I saw that year.

    It's funny Kristy likes this, as they are pretty much a jam band, yet she claims to hate jam bands like Tedeschi Trucks. With TTB you get an amazing jam band and a great voice with Susan Tedeschi, as well as some of the others they let sing. But hey, we all know she's a weird "girl".

    I wonder if Kristy likes Billy Strings?
    Ed was influenced by Eric Clapton. He never sounded like Eric. Playing guitar is like signing your name. Some players are good forgers. Some aren’t. But if you just relax and play your own unique style comes out.
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    Quote Originally Posted by Terry View Post
    Looking back, I think the most distressing thing about Eddie's influence - at least among most of the more known/'name' players who Eddie influenced - is that they really only seemed to take the flash aspect of Ed's style, and didn't really latch onto the fact that Ed was a great all-around rock player. Not just the soloing and the licks, but the riffs/chords/songs.

    Would readily agree there is only one Eddie. It always seemed weird to me - even more so circa early 2000s when all that EVH signature gear came out - that guitar players would run out and spend thousands upon thousands of dollars scooping up all that EVH gear, then learning Eddie's stuff note-for-note, then youtubing themselves trying to approximate what Eddie did:

    It had already been done.

    Early 1980s, hearing a player in a guitar store doing Eruption? Impressive.

    Thirty years later on youtube? Boring.


    Would be more impressive at this point to hear/see a youtuber guitarist doing something original that was good, rather than replicating someone else's licks.
    I play mostly Fenders and Gibson’s. Always have. My main amp is a Marshall small box head modded by Dave Friedman. I also use a tricked out Deluxe Reverb if I’m playing rockabilly and surf stuff.

    I can knock a few VH tunes out when I’m in the mood but yeah I rarely finger tap and do all that 80’s stuff. It’s all over done.

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    I was never into guitar wankery. It’s always been about the song for me. It’s about doing your part to make the song interesting. I play other instruments so I guess I have a broader view. Each part of a band is very different.

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    Quote Originally Posted by Nitro Express View Post
    I play mostly Fenders and Gibson’s. Always have. My main amp is a Marshall small box head modded by Dave Friedman. I also use a tricked out Deluxe Reverb if I’m playing rockabilly and surf stuff.

    I can knock a few VH tunes out when I’m in the mood but yeah I rarely finger tap and do all that 80’s stuff. It’s all over done.
    I readily admit back in the early 1980s when I was hitting my teen years, me and two other buds started playing guitar around the same time - 1982 - and we were scrambling to learn Eddie's licks. Eddie was the hottest rock player going back then, without question.

    I suppose I really started to notice the pervasiveness of Eddie's influence and flash guitar in general around 1984 or so (kicked into higher gear with guys like Vai and Malmsteen), and then for the rest of the 1980s with any given rock band - be it bands who had national exposure or local/amatuer bands - every single song had a guitar solo where the guitarist would throw everything and the kitchen sink into it. Rock guitarists in general terms became more concerned with flash solos than constructing great rock songs.

    Last time I ever really played a lot of Van Halen stuff was maybe in the early 2000s, when VH guitar tab books that were reasonably accurate came out. Went out and got the 6 pack tabs, sat down and learned how to play all that CVH stuff I couldn't figure out by ear in the early 1980s (I can't read sheet music). Which was kind of neat, in terms of finally learning how to play something like Top Jimmy, which I could never figure out by ear because it had this weird tuning.

    These days, when I do dust off one of my guitars and play it, I find I'm not even plugging into my amp any more.

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    Oh hell. The sheet music is even more off than the Tab is. Most rock sheet music sucks.

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    I probably have 20 amplifiers. A couple probably need a cap job done. Two need new power tubes. I probably need to thin the herd but I’m not ready to let my 72 big box or 69 Super Lead go. Lately I’ve just been playing through my Fender Mustang Micro headphone amp.

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    Quote Originally Posted by Nitro Express View Post
    Oh hell. The sheet music is even more off than the Tab is. Most rock sheet music sucks.
    The tab books weren't flawless, but they were pretty accurate.

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    Quote Originally Posted by Nitro Express View Post
    I was never into guitar wankery. It’s always been about the song for me. It’s about doing your part to make the song interesting. I play other instruments so I guess I have a broader view. Each part of a band is very different.
    But you have thirty amps and a guitar collection.
    Me too! (Except the amps; three fills my needs)
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    Quote Originally Posted by Terry View Post

    Would readily agree there is only one Eddie. It always seemed weird to me - even more so circa early 2000s when all that EVH signature gear came out - that guitar players would run out and spend thousands upon thousands of dollars scooping up all that EVH gear, then learning Eddie's stuff note-for-note, then youtubing themselves trying to approximate what Eddie did:

    It had already been done.

    That's marketing for you. No different from when $3,000 Ludwig John Bonham drum came out and people who bought them thought if they had a kit like Bonham they play exactly like Bonham. Wonder how many of those kits are on eBay now. The same with signature guitars and reissues.

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    Quote Originally Posted by Terry View Post
    I suppose I really started to notice the pervasiveness of Eddie's influence and flash guitar in general around 1984 or so (kicked into higher gear with guys like Vai and Malmsteen), and then for the rest of the 1980s with any given rock band - be it bands who had national exposure or local/amatuer bands - every single song had a guitar solo where the guitarist would throw everything and the kitchen sink into it. Rock guitarists in general terms became more concerned with flash solos than constructing great rock songs.

    I think back upon reading in Mojo Magazine's "Real Gone" section where they wrote a eulogy on Eddie called 'The Toughest Around' where they talked about Eddie coming out of nowhere only to leave a trial of copy cats and wannabes that made name for themselves without giving any respect to the man who made they playing better and that Eddie was a "bag of tricks" player and once people figured out what he did he wasn't that great. That's genius for you and Eddie was not only a genius but an innovator and a creator that took the six-sting to new heights especially at a time when shitbirds like Clapton and Gilmour were making the guitar to be a boring as ever (they still do). I was never a big fan of Van Halen maybe due to the S P A M M Y years and that most people who listened to Eddie's playing only listened to him technically. So what a refreshing surprise to hear that Eddie's playing made them feel good and that there is no other reason needed to pick up a guitar and emulate that person who picked you up in life.

    The Los Bitchos weren't even born when Eddie recorded what he did and that they see him in a new light that goes beyond just tapping and tone. I don't have much faith in a lot of "today's music" where you have hacks with drum machines and Abletons pressing buttons all day long to achieve a synthetic quality of music which, let's face it, is not music. I need to hear real musicians who sweat and frustrate while manipulating their instrument (that sounded kind of pornish) in order to make their audience feel good. Which is what music is all about.

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    Quote Originally Posted by Kristy View Post
    I think back upon reading in Mojo Magazine's "Real Gone" section where they wrote a eulogy on Eddie called 'The Toughest Around' where they talked about Eddie coming out of nowhere only to leave a trial of copy cats and wannabes that made name for themselves without giving any respect to the man who made they playing better and that Eddie was a "bag of tricks" player and once people figured out what he did he wasn't that great. That's genius for you and Eddie was not only a genius but an innovator and a creator that took the six-sting to new heights especially at a time when shitbirds like Clapton and Gilmour were making the guitar to be a boring as ever (they still do). I was never a big fan of Van Halen maybe due to the S P A M M Y years and that most people who listened to Eddie's playing only listened to him technically. So what a refreshing surprise to hear that Eddie's playing made them feel good and that there is no other reason needed to pick up a guitar and emulate that person who picked you up in life.

    The Los Bitchos weren't even born when Eddie recorded what he did and that they see him in a new light that goes beyond just tapping and tone. I don't have much faith in a lot of "today's music" where you have hacks with drum machines and Abletons pressing buttons all day long to achieve a synthetic quality of music which, let's face it, is not music. I need to hear real musicians who sweat and frustrate while manipulating their instrument (that sounded kind of pornish) in order to make their audience feel good. Which is what music is all about.
    I just love the songs and I always thought Eddie had a great Style. To be sure he had a bag of tricks but for me he was just a fantastic all-around rock guitarist. I think Frank Zappa had said that Eddie had brought rock guitar into the 1980s - out of the blues pentatonic doldrums - and obviously Zappa was right. Technically, Eddie's stuff wasn't all that difficult once you figured out how he did what he did, but when other guitarists say that they tend not to mention that Eddie also brought all that stuff (tapped harmonics, two-handed tapping, etc) to the forefront: sure, Eddie wasn't the first to do a lot of the stuff he did, but he synthesized it all together into this singular style...nobody had heard a rock guitar player who played the way he did before. I'd also agree 100% re: real musicians playing real instruments over somebody generating music via a computer in terms of my own preference.

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    Quote Originally Posted by Kristy View Post
    I need to hear real musicians who sweat and frustrate while manipulating their instrument (that sounded kind of pornish)
    I chubbed

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    Quote Originally Posted by ashstralia View Post
    But you have thirty amps and a guitar collection.
    Me too! (Except the amps; three fills my needs)
    I might have 30 amps if you throw in all the little practice ones. Ha! Ha! I have no idea how many guitars I have. I bust a string I just grab another one so I probably have fifteen that need new strings. I've been buying guitar stuff since I was 12. So that’s 44 years worth of collecting and really, not a bad investment. A lot of that stuff is worth more now than when I bought it. Even the rack stuff. I still have the 78 Stratocaster I bought new and even still have the original receipt.

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    But I only have one piano and drum kit. Ha! Ha!

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    Quote Originally Posted by Kristy View Post
    That's marketing for you. No different from when $3,000 Ludwig John Bonham drum came out and people who bought them thought if they had a kit like Bonham they play exactly like Bonham. Wonder how many of those kits are on eBay now. The same with signature guitars and reissues.
    I have no problem with it. Steinway would go out of business but people buy their grand pianos because they look cool in the living room. That allows real players to buy a piano that’s built the old school way and has that feel. Some signature stuff does get a unique sound. A Stewart Copeland snare drum does not sound like any other snare drum. So if you want that particular sound you have to get that particular drum.

    But is buying the same gear your hero plays going to make you play like them? Nope.

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    Some Van Halen stuff is easy. Eruption isn’t all that difficult to play when you get it down. The Mean Streets the intro is a tricky bugger. You have to have the right touch or it’s just off. It’s basically slap funk on a guitar. Ed just had that magical touch and only Ed played like Ed. I’ve heard good imitators but something is always a bit off or missing.

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    Quote Originally Posted by Kristy View Post
    I think back upon reading in Mojo Magazine's "Real Gone" section where they wrote a eulogy on Eddie called 'The Toughest Around' where they talked about Eddie coming out of nowhere only to leave a trial of copy cats and wannabes that made name for themselves without giving any respect to the man who made they playing better and that Eddie was a "bag of tricks" player and once people figured out what he did he wasn't that great. That's genius for you and Eddie was not only a genius but an innovator and a creator that took the six-sting to new heights especially at a time when shitbirds like Clapton and Gilmour were making the guitar to be a boring as ever (they still do). I was never a big fan of Van Halen maybe due to the S P A M M Y years and that most people who listened to Eddie's playing only listened to him technically. So what a refreshing surprise to hear that Eddie's playing made them feel good and that there is no other reason needed to pick up a guitar and emulate that person who picked you up in life.

    The Los Bitchos weren't even born when Eddie recorded what he did and that they see him in a new light that goes beyond just tapping and tone. I don't have much faith in a lot of "today's music" where you have hacks with drum machines and Abletons pressing buttons all day long to achieve a synthetic quality of music which, let's face it, is not music. I need to hear real musicians who sweat and frustrate while manipulating their instrument (that sounded kind of pornish) in order to make their audience feel good. Which is what music is all about.
    The last cat I saw live who really wrangled his guitar on stage was Stevie Ray Vaughan. Haven’t seen anyone do that since but SRV was just killing it.

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    Quote Originally Posted by Nitro Express View Post
    Some Van Halen stuff is easy. Eruption isn’t all that difficult to play when you get it down. The Mean Streets the intro is a tricky bugger. You have to have the right touch or it’s just off. It’s basically slap funk on a guitar. Ed just had that magical touch and only Ed played like Ed. I’ve heard good imitators but something is always a bit off or missing.
    I'd say the Meanstreet Intro is much more difficult to get sounding like Eddie than Eruption. As you say, that combo of slap funk and the tapped harmonics...it's a bitch. I tried fucking around with it twenty odd years ago...watching footage of Ed doing it live from three different shows, had the tab for it...I could never get it to flow nearly as well...a lot of quick stops and starts shifting between various techniques...

    Brian Young did a pretty good job of it when he was in Dave's band.

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    Yeah I tried it back in the day like everyone else but couldn't do the timing.

    I asked Brian Young about it and he said it took him three weeks. I also remember saying to Ray Luzier that it was a lot harder than the intro to HFT based on absolutely nothing, how would I know?

    I think he maybe disagreed.
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    Quote Originally Posted by Von Halen View Post
    06E34140-485E-42FA-A26F-00C45FA4F953.jpg

    I love Larkin Poe. Took this pic.
    Had you fallen over?

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    Quote Originally Posted by Terry View Post
    I'd say the Meanstreet Intro is much more difficult to get sounding like Eddie than Eruption. As you say, that combo of slap funk and the tapped harmonics...it's a bitch. I tried fucking around with it twenty odd years ago...watching footage of Ed doing it live from three different shows, had the tab for it...I could never get it to flow nearly as well...a lot of quick stops and starts shifting between various techniques...

    Brian Young did a pretty good job of it when he was in Dave's band.
    Ed had very strong hands with a lot of dexterity. You are talking about a guy who walked around with a guitar on him and he even took the thing to the bathroom. He constantly played and he had hands that most people don’t. You have to have hands like that to play some of that stuff. He would really fire his fingers at the strings and be really accurate. I tried to play some Jimi Hendrix stuff and couldn’t play it like him because my hands aren’t big enough. Jimi had huge hands. So sometimes you just have to have the right anatomy or it ain’t happening.

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    Quote Originally Posted by Von Halen View Post

    I wonder if Kristy likes Billy Strings?


    I must have missed this. When did Von out of all people suddenly become cool?

    The only album I heard by them is Renewal and all I can say to that is I love the playing not so big on the singing.

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    Quote Originally Posted by Seshmeister View Post
    Had you fallen over?
    It isn't sideways on my fucking phone!

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    Quote Originally Posted by Seshmeister View Post
    Yeah I tried it back in the day like everyone else but couldn't do the timing.

    I asked Brian Young about it and he said it took him three weeks. I also remember saying to Ray Luzier that it was a lot harder than the intro to HFT based on absolutely nothing, how would I know?

    I think he maybe disagreed.
    The HFT intro isn't as hard as the MS intro for me, because the HFT intro is just two-handed tapping...[HFT intro] is tapped slightly differently than some other two-handed tapping stuff Ed did in terms of technique because [Eddie] was using open strings in the sequence - as opposed to, say, the two handed tapping in Eruption - so I had to initially practice that intro slowly in order to incorporate the open string notes and make sure they were audible, and it did take me awhile to get that intro up to speed and sounded as fluid as Ed did it.

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    Quote Originally Posted by Nitro Express View Post
    Ed had very strong hands with a lot of dexterity. You are talking about a guy who walked around with a guitar on him and he even took the thing to the bathroom. He constantly played and he had hands that most people don’t. You have to have hands like that to play some of that stuff. He would really fire his fingers at the strings and be really accurate. I tried to play some Jimi Hendrix stuff and couldn’t play it like him because my hands aren’t big enough. Jimi had huge hands. So sometimes you just have to have the right anatomy or it ain’t happening.
    Hendrix had those large hands...like, you watch footage of him and he's using his thumb constantly for chordings...his thumb could fold over and cover most of the strings, fer chirssake! So Hendrix really had 6 digits on his fretting hand to use vs. 5 for most other people.

    Ed, as you say, had those strong hands...that Meanstreet intro...I dunno. I could never get the slapping part - where he is using his thumb and index finger to slap the neck on the 12th fret - to sound good. The tapped harmonics I can get to sound good, but the slapping part I'm hopeless on.

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    Quote Originally Posted by Kristy View Post
    That's marketing for you. No different from when $3,000 Ludwig John Bonham drum came out and people who bought them thought if they had a kit like Bonham they play exactly like Bonham. Wonder how many of those kits are on eBay now. The same with signature guitars and reissues.
    Which is just...it's weird to me.

    I totally get liking whichever particular player, and being influenced by a player and a player inspiring someone...that part I get.

    I've never quite understood the thing...like, the first couple of years I started playing guitar, I fell into the classic trap of figuring it was more the gear/equipment that made a player sound like they did than what they were doing with their hands (or limbs for a drummer).

    "If only I could get the same MXR stomp box gear as Eddie, and a guitar with a Floyd Rose...THEN I'll sound like Eddie."

    It isn't true that getting the gear in and of itself will make anybody sound like somebody else, and even if you DO get all the signature EVH gear and learn the Van Halen material and can replicate it so it all sounds as close to Eddie Van Halen as possible...so? Or if you get that Bonham Ludwig kit and learn how to play so you sound JUST LIKE JOHN BONHAM...so? I mean, to what purpose?

    The idea, to my mind, is that you get influenced by others but that is a stepping stone to learning how to do your own thing as opposed to slavishly replicating what someone else has done.

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    Quote Originally Posted by Terry View Post
    The HFT intro isn't as hard as the MS intro for me, because the HFT intro is just two-handed tapping...[HFT intro] is tapped slightly differently than some other two-handed tapping stuff Ed did in terms of technique because [Eddie] was using open strings in the sequence - as opposed to, say, the two handed tapping in Eruption - so I had to initially practice that intro slowly in order to incorporate the open string notes and make sure they were audible, and it did take me awhile to get that intro up to speed and sounded as fluid as Ed did it.
    LOL my bad. No I agree the intro on guitar to HFT is much easier than Mean Street. My stupid point to Ray Luzier was that the intro on guitar to Mean Street was more difficult to play than the drum intro to HFT.

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    Quote Originally Posted by Terry View Post
    "If only I could get the same MXR stomp box gear as Eddie, and a guitar with a Floyd Rose...THEN I'll sound like Eddie."
    Back before the WWW I would honestly think this about guitar tab books - I would half expect to be able to play all the songs in them once I bought them. I can't be the only person that thought that.

    Never went through my mind that all I needed to do is buy the music to a piano concerto by Prokofiev and then I would be able to play it...

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    Quote Originally Posted by Seshmeister View Post
    Back before the WWW I would honestly think this about guitar tab books - I would half expect to be able to play all the songs in them once I bought them. I can't be the only person that thought that.

    Never went through my mind that all I needed to do is buy the music to a piano concerto by Prokofiev and then I would be able to play it...
    I remember the first tab I ever worked with, which was Steve Vai's tab transcription to Eruption included in a Guitar Player magazine back in 1983 or 1984.

    Guitar Player magazine back then was really the primary magazine for guitar players (this was before Guitar World and Guitar For The Practicing Musician went into publication), but Guitar Player always took a sort of grudging, disinterested attitude toward rock guitar players until 1983 or so, when I suppose it finally dawned on them that they were just screwing themselves financially by NOT focusing on rock guitar players.

    Anyway, Vai's Eruption tab transcription was very accurate and as I said I didn't read sheet music, so back then that was a godsend: you couldn't just go on youtube or the web and get video/tab of any tune you wanted.

    And even with Vai's tab transcription and a couple of years of playing under my belt at that point, it wasn't like I was playing Eruption within minutes of getting the tab...it was something I had to work at in terms of practice, although I didn't consider practice drudgery because I loved playing so much. So although it was kind of a pain in the ass back then not being able to read sheet music and having to figure out stuff by ear rather than watching it for free on the internet, when I did figure something out by ear it was kind of more rewarding because I did the work.

    That being said, I was glad when tabs became easy to get, because I could KINDA figure things out by ear, but sometimes I couldn't QUITE figure things out exactly by ear. Like, when those 6 pack tab books came out in the early 2000s, I was amazed at how much of the CVH stuff I had tried to figure out by ear in the early 1980s ended up being slightly wrong...and I knew back in the early 1980s that some of it was slightly wrong but I got it close enough. Things like using the old two-fingered power chords constantly, whereas Eddie didn't really use those much...or even barre chords.

    The first two years I was playing guitar, I used to play along to early Sabbath stuff. I used to play Iron Man over and over and over again. THEN I started playing Van Halen stuff.

    Boy, dems wuz de days!!

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    Quote Originally Posted by Terry View Post
    The HFT intro isn't as hard as the MS intro for me, because the HFT intro is just two-handed tapping...[HFT intro] is tapped slightly differently than some other two-handed tapping stuff Ed did in terms of technique because [Eddie] was using open strings in the sequence - as opposed to, say, the two handed tapping in Eruption - so I had to initially practice that intro slowly in order to incorporate the open string notes and make sure they were audible, and it did take me awhile to get that intro up to speed and sounded as fluid as Ed did it.
    Hot For Teacher is a fun song to play because it's got some swing to it. My drum instructor way back in the Stone Age was a jazz drummer so he taught me to play with a swing. It makes music more interesting. My stoner guitar teacher told me to play how you fuck. A different way of explaining it but they were saying the same thing. That's Hot For Teacher. Also it's fun to grab a Gibson styled guitar and flip to the neck pickup for the soft parts and flip to the bridge pickup for the rocking stuff. Having that sonic gear shift just makes it more fun.

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    Quote Originally Posted by Terry View Post
    I remember the first tab I ever worked with, which was Steve Vai's tab transcription to Eruption included in a Guitar Player magazine back in 1983 or 1984.

    Guitar Player magazine back then was really the primary magazine for guitar players (this was before Guitar World and Guitar For The Practicing Musician went into publication), but Guitar Player always took a sort of grudging, disinterested attitude toward rock guitar players until 1983 or so, when I suppose it finally dawned on them that they were just screwing themselves financially by NOT focusing on rock guitar players.

    Anyway, Vai's Eruption tab transcription was very accurate and as I said I didn't read sheet music, so back then that was a godsend: you couldn't just go on youtube or the web and get video/tab of any tune you wanted.

    And even with Vai's tab transcription and a couple of years of playing under my belt at that point, it wasn't like I was playing Eruption within minutes of getting the tab...it was something I had to work at in terms of practice, although I didn't consider practice drudgery because I loved playing so much. So although it was kind of a pain in the ass back then not being able to read sheet music and having to figure out stuff by ear rather than watching it for free on the internet, when I did figure something out by ear it was kind of more rewarding because I did the work.

    That being said, I was glad when tabs became easy to get, because I could KINDA figure things out by ear, but sometimes I couldn't QUITE figure things out exactly by ear. Like, when those 6 pack tab books came out in the early 2000s, I was amazed at how much of the CVH stuff I had tried to figure out by ear in the early 1980s ended up being slightly wrong...and I knew back in the early 1980s that some of it was slightly wrong but I got it close enough. Things like using the old two-fingered power chords constantly, whereas Eddie didn't really use those much...or even barre chords.

    The first two years I was playing guitar, I used to play along to early Sabbath stuff. I used to play Iron Man over and over and over again. THEN I started playing Van Halen stuff.

    Boy, dems wuz de days!!
    I had the Guitar Player subscription as well. I first heard of Steve Vai because he wrote for the magazine. He was more of a gun for hire session guy than a rockstar then. I thought his transcriptions were very well done. So when Roth hired him I'm like cool, Dave snagged the Guitar Player guy. Other guitar magazines were coming out and Guitar Player had to get on it's game.

    I learned to read music by taking piano lessons. In my family all the kids had to take piano lessons for three years. My parents did not like rock and roll. My dad was a clarinet and saxophone player and looked at the electric guitar as a novelty item. So I got zero support when I wanted an electric guitar and I had to go buy one on my own with my own money and get the lecture I wasted my money on something stupid. So it was play in the bedroom with the door closed and turn that down! Ha! Ha! Band practice was not going to be at our house.

    So my friend's dad was a medical doctor and he owned the building the practice was in and it had a basement. We had all our gear in the basement of the medical building and when the doctors were done the building was empty and man that was a great place to practice in.

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    When I read Dave's dad was a doctor and Van Halen practiced in his basement I thought that was cool. My friend's dad was a cool fun guy. Sometimes he would be upstairs doing paperwork and he would pop down occasionally and check on us. He would stand there in his white doctor's jacket and joke around with us.

    He moved to Palm Springs and went into practice there. He needed somebody to drive his Mercedes 450 SEL down. He made us a deal. We could take the Mercedes to San Diego for Spring Break, have it the whole week, drop it off in Palm Springs and he would fly us home. That sounded good to us. We had friends at the University of San Diego and they were renting a nice townhouse. That was one of the funnest Spring Breaks ever.

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    Quote Originally Posted by Terry View Post
    Hendrix had those large hands...like, you watch footage of him and he's using his thumb constantly for chordings...his thumb could fold over and cover most of the strings, fer chirssake! So Hendrix really had 6 digits on his fretting hand to use vs. 5 for most other people.

    Ed, as you say, had those strong hands...that Meanstreet intro...I dunno. I could never get the slapping part - where he is using his thumb and index finger to slap the neck on the 12th fret - to sound good. The tapped harmonics I can get to sound good, but the slapping part I'm hopeless on.
    Most the sound and tone comes from the hands. One person can play through a guitar rig and sound great. Another person can play the same guitar and rig and it sounds like something broke. It's how those strings vibrate and the hands make that happen. That's the source of it all.

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    I knew what Jimi was doing. I knew exactly what he was doing but I didn't have those huge hands. So I was fucked.

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