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it wasn't only the blues, R&B, and doo wop revivalism of British Invasion bands that saved the American art form. It was also the often unintentional influence of audio engineers who-with their incessant tinkering and a number of happy accidents-created new sounds that defined rock and roll of the 60s and 70s. Ironically, the two technical developments that most characterized those decades' rock guitar sounds-the wah-wah and fuzz pedals-were originally marketed as ways to imitate strings, horns, and other non-rock and roll instruments . . .
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IN THE BASSMENT
Charlie Haden was known for a lot of things throughout his long and celebrated life, but perhaps he is remembered most now for his beautiful and emotive playing. He was such a caring and earnest man off the stage, that it's only natural that his brilliant demeanor translated to his bass playing. Here is Haden with his Quartet performing "First Song" and Haden's tasteful and thoughtful playing, this time with his Liberation Music Orchestra performing "Sandino" . . .
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Watch and listen to Sonata No. 1 in G minor on electric bass.
This amazing composition was written by J.S. Bach and was transcribed and played by Michel Falcão. It features excellent audio and video produced by Menderson Madruga and recorded at Studio AGT Neto Stenger, Brazil . . .
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It is generally agreed that it was not Rick James playing bass on this track, but actually Oscar Allston. However, it sure has great tone (dead rotos on a P-Bass?), and proves the point that you don't need a whole lot of notes to make a hit!
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GREAT GEAR
When you consider how much time and effort you put into getting your rig to sound just the way you want, it makes sense to ensure your guitar cables are also up to the job - after all they're an important part of the tone chain. Also remember that occasionally things will go wrong, so always carry at least one spare cable to gigs and rehearsals.
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ARTIST AWARENESS
Nicknamed "The Octopus" for his huge hands, Tal Farlow could provoke listeners' ears with exciting, harmonically complex solos at extreme tempos. He also was a pioneer of false harmonics, a right-hand technique Farlow used to produce harmonics all over the fretboard. But Tal didn't pick up the guitar until he was 21. Even though his father played mandolin, violin and guitar, and his mother played piano, Farlow's parents viewed music as a hobby, not a profession, and for years he labored as a sign painter for a meager $2 a week. But once he got started though, it wasn't long before he was playing professionally with . . .
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