Tuesday, September 29, 2015

Slash Guitar Analysis

Slash has a very unique lead playing style. His style is bluesy and soulful, and sometimes ventures off to include notes that are not part of the standard blues scale. Slash can play very emotional, wailing melodies, but also rough and fast pieces when the song calls for it. There is something unashamed and primal about his playing — it’s almost sexy.

As Axl Rose said in 1988 during Guns N’ Roses’ timeless performance captured on Live at the Ritz, “In a world he that he did not create, but he will go though as if it was his own making: half man, half beast … I’m not sure what it is, but whatever it is, it’s weird and it’s pissed off and it calls itself SLASH.”

In this post I want to highlight some of the things that strike me as being typical of Slash’s style. I don’t want to talk about specific licks as I think ultimately this is a bit limiting. While knowing how to play specific licks can be very useful, what I want to convey in this post are ideas — several ways to approach particular notes to create a certain feel. You can then incorporate these ideas into your own lead playing.
First, let’s start off with the scale that Slash tends to build most of his solos around. It’s the standard blues scale, and in standard position it is given by:
Blues Scale in Standard Position

Most of the solos on Guns n’ Roses’ albums Appetite for Destruction, Use Your Illusion 1 and Use Your Illusion 2 are built around this scale. Slash occasionally extends this scale to include more notes if the song calls for it.

Idea #1: Mixing minor and major scales


Take the standard blues scale in standard position. Now shift the whole pattern down by three semitones. What you are left with is the major pentatonic scale with the addition of the minor third.

Slash uses this scale a lot in ballads where the standard blues scale would sound a bit too rebellious. The major pentatonic scale sounds more harmonious than the standard blues scale when played against major scale chord progressions. This is perfect for ballads where the melody should add to the mood of the song rather than rebel against it, which is what tends to happen when you play the blues scale.

Listen to ballads like “November Rain” or “Estranged” to hear this scale in action.
The power comes from being able to mix this scale with the blues scale. Each scale adds their own different feel to a solo. Go to the Examples section to see a video that illustrates this idea.
The following chart shows the scale in all its glory with the standard blues scale as reference (semi-transparant). Slash usually adds the perfect fourth, as highlighted in yellow.

Slash's Major Scale Pattern

Idea #2: Overbending the perfect fifth


Let’s go back to the standard blues scale. In particular, have a look at the perfect fifth.
Slash bends this note by three semitones. This is something that I think is one of those things that really defines Slash’s lead style. That note, when bent by three semitones, followed by picking the fifth, augmented fourth, perfect fourth and minor third sounds absolutely great. It’s like turbo-charged blues.

Have a listen to Slash’s solo on Lenny Kravitz’s “Mama Said” to hear this in action. It’s that one note that really stands out to me. See if you can spot it.

The Perfect Fifth

Idea #3: Adding the major sixth


When a song calls for it, Slash is no stranger to playing fast phrases. And when he does he adds the major sixth to the blues scale. This is a note that stands out when added to the standard blues scale and gives the melody a different feel.

Listen to songs such as Guns n’ Roses’ “You Could be Mine” or “Garden of Eden” for an example.

Major 6th Added

to be continued

Wednesday, February 4, 2015



A week after announcing his departure from WHITESNAKE, guitarist Doug Aldrich has released a new statement explaining the reasons behind his decision to leave the group as well as offering a glimpse into his musical future.

Said Doug: "As there is still some question regarding my situation with WHITESNAKE, I want to officially clear the air. 

"I can confirm that on May 7th, I made the insanely difficult decision to leave the WHITESNAKE band. 

"At that time, although not contractually bound, I moved forward with David [Coverdale, WHITESNAKE singer and leader] starting pre-production for an upcoming WHITESNAKE project. Coinciding with my with the start of that project, I also had several recording and live commitments, so I needed a more flexible schedule to conclude these before going full force as normal. Unfortunately, my schedule was not workable.

"As usual, the results between me and David were extremely positive and fun, so that made the decision even harder. 

"I treasured my 11-plus years in the band. Two studio records, two DVDs, three live records and roughly 30 Coverdale/Aldrich songs! Killer...

"The privilege of being an ambassador for WHITESNAKE is a responsibility I took very seriously.

"David started the band 35 years ago with high integrity. It was an honor to maintain that standard while I was in. And now, like lots of great things, it has come to an end.

"I want to thank the great WHITESNAKE band. Reb [Beach, guitar], Michael [Devin, bass], Tommy [Aldridge, drums], Big Foot [Brian] Tichy, Rudy [Sarzo], Marco [Mendoza], Uriah [Duffy], Timothy [Drury] and the Fraz [Chris Frazier] for the good times, great shows and records always kicking major ass over these years. The opportunity travel the world together with such amazing musicians in so many countries was just unreal. 


"For me, this is a new beginning and area of my musical future. I'll definitely be moving forward working on new music, recording and touring and will have a bit more time to pursue some offers that I never had time to fit in before. A fresh start, new ideas, and another chance to push myself as a musician.

"Thank you, brother DC, for the great times and for allowing me space to put my heart and soul into the history of your great band."

Aldrich played on the last two WHITESNAKE studio albums, 2008's "Good To Be Bad" and 2011's "Forevermore", and appeared on several live releases, including last year's "Made In Japan" and "Made In Britain/The World Records".

Asked in a 2013 interview with Classic Rock Revisited how he has been able to stay in WHITESNAKE so long considering how "tough on guitar players" David has been throughout the years, Doug said: "Honestly, I think he really cares about how hard I work and how much I care about his musical vision. I might make a mistake and overstep my bounds, now and then, but David knows I am only doing it because I really care. I think that is a part of it. My style fits in with him, as well. Reb [Beach, WHITESNAKE's other guitarist] and I really work well together for WHITESNAKE as well.

Doug added: "I think for me, [Coverdale] is at the point to where he does not need to prove anything to anybody, but he still wants to move forward, anyway. I love that. At the same time, I'm going, 'Let's try this!' I am not pushing him, but I am enthusiastic about our music. I love the guy and he is one of a kind and I have a lot of respect for the fact that he is still going for it. I love being in WHITESNAKE and David knows it. By the same token, if David said to me that he wanted to go back to any one of the past guitar players, I would absolutely respect that and I would be appreciative of everything that we've done together."

Regarding how he came to join WHITESNAKE, Doug said: "When David first contacted me about doing WHITESNAKE, I had heard he was going to reform the version of WHITESNAKE with John Sykes. I said, 'David, there is no reason for you to talk to me if you're thinking of getting back with Sykes. I have my own thing to offer and I am not going to be in a band with him.' David said,'No, no, no, I want you.' So I thought, 'Yes!' 'Okay, cool. Let's talk.' 

"There was a period, in 2003, where he said that he might do something with previous members and he wondered if I would consider being a part of it. At the time, I said no because I hadn't put my mark on WHITESNAKE yet. It wouldn't have felt right to me at that early time. Now we have 30-plus songs together and I'm very proud of them. Now we jam with past members all the time and its fun. I am humble and inspired working with David and very thankful for our relationship."

Aldrich has spent the past few months performing with Raiding The Rock Vault — dubbed "the ultimate classic rock concert experience" — which plays the LVH Hotel And Casino in Las Vegas four or five times a week. Boasting the ultimate set list, the show takes audiences on a magical musical journey, traversing the genre's history from the '60s through the '80s.


  1. Doug Aldrich, is a Los Angeles-based hard rock guitarist. He founded the band Burning Rain with Keith St. John in 1998 and has played previously with the bands Whitesnake, Dio, Lion, Hurricane, House of Lords, and Bad Moon Rising. Wikipedia
  2. Born: February 19, 1964 (age 50), Raleigh, North Carolina, United States

Source: www.blabbermouth.net

Thursday, October 9, 2014

Adam Black Guitar Company O-8 Orchestra Solid Koa Wood

Adam Black Guitar Company O-8 Orchestra Solid Koa Wood


The O-8 folk acoustic features a solid Koa Wood back and sides with a solid spruce top making a beautiful guitar with a warm tone.
Maple and abalone binding finish off the look.


Neck Join: Dove Tail
Body Style: Orchestral
Top: Solid Spruce
Body: Solid Koa
Neck: Mahogany
Fingerboard: Rosewood
Inlays: Dot
Scale: 25 1/2″
Tuners: Grover
Bridge: Rosewood
Hardware: Chrome
Pickups: None
Electronics: None
Finish: Natural



Greg Bennett GD-50 Standard Series

Most Helpful Customer Reviews:

“It is a beautiful instrument, sturdy with a very nice glossy finish.”
“It is amazingly beautiful. I’ve never seen quality like this on a cheaper priced guitar. It has an amazing bold sound that really resonates well and the action is amazing. The strings set really low on the neck and it tunes so easy. I told my friends what I paid for the kit and they couldn’t believe it.”
“It’s beautiful, well crafted and sounds great.”
“The guitar is beautiful, the sound is beautiful and the fretboard is narrow and fit my hand perfectly, but the sound…. again I say BEAUTIFUL!!!!!”
“I like that it has a glossy finish, and it should be easier to keep clean. The sound quality is gorgeous..”

Crisp, binding flanks the glossy-finish mahogany back and sides and a spruce top, and then continues up the fretboard. Thunderflex bracing, single ring rosette, single ply binding, Rosewood bridge,  Mahogany set neck, Rosewood fretboard (12″ radius), 1 11/16″ pps nut, dot inlay, screened logo, dual action truss rod. Chrome die-cast tuning machines,  pps compensated  saddle,  Rosewood bridge.


Body Dreadnought 41″
Top Spruce
Pickguard Black
Back & Side Mahogany
Rosette White Pearl
Logo Silkscreen
Binding none
Tuning Machine Die-cast
Color OPN

Will be back in stock… and it’s ready in stock now.. :D
  • Designed by world acclaimed American luthier Greg Bennett
  • Full-size Dreadnought body guitar offers an even balance tone at an unbelievable price-point
  • Rosewood bridge, Rosewood fingerboard, chrome tuners, spruce top with mahogany back and sides with a Natural wood finish.

Friday, August 8, 2014

Washburn N4 Black Satin Demo by Eka Yuana

Eka Yuana from Yogyakarta, Indonesia, work it out in Areeya House.

- WashburnN4 Black Satin NunoBettencourt
- Boss ST-2 Power Stack
- Randall NB15 Nuno Bettencourt Amp

Recorded with: Canon Digital IXUS 80 IS.

Facebook Page: Ahad is One


Nuno Bettencourt Signature Series Washburn N4 Black Satin

Contact us: +62 8561 772 722


Solid alder body
22 fret maple neck with ebony fingerboard
L500 Bill Lawrence™ bridge pickup
Seymour Duncan® ’59 neck pickup
Original Floyd Rose® tremolo
25.5″ scale
Stephens® extended cutaway 5-bolt neck joint
14″ pitch-angled reverse headstock
Grover® 18:1 tuners
Buzz Feiten Tuning System™

Tuesday, June 3, 2014

More Than Words Nuno - Gary - Paul Gilbert


☆☆ GUITAR WARS Live in Tokyo 2003 ☆☆

A gangbang of guitar heroes & musicians - featuring Nuno Bettencourt (Extreme) Gary Cherone (Extreme) Paul Gilbert (Mr Big) John Paul Jones (Led Zeppelin) Steve Hackett (Genesis) and friends.

Complete Japanese broadcast of "Guitar Wars", a concert taking place on August 29th, 2003, featuring Paul Gilbert, Nuno Bettencourt, Steve Hackett, John Paul Jones and Gary Cherone. The setlist consists of songs from each musician's catalog, as well as a few covers.


1. intro
2. Gettin' Betta (by Pat Travers)
3. Down To Mexico
4. Scarified
5. To Be With You
6. Tidal
7. When The Levee Breaks
8. Gravity
9. Cupid's Dead
10. Midnight Express
11. More Than Words
12. Classical Gas
13. Firth Of Fifth
14. Mechanical Bride
15. Los Endos Medley
16. Rock And Roll (Led Zep)

Main band lineup:

Pat Mastelotto (King Crimson, Mr. Mister) -- drums
Roger King (Steve Hackett Band) -- keyboards
Mike Szuter (the Szuters) -- bass

Special Guest Musicians:
Paul Gilbert (Mr. Big, Racer X)
Nuno Bettencourt (Extreme)
Steve Hackett (Genesis, GTR)
John Paul Jones (Led Zeppelin)
Gary Cherone (Extreme)