Mark Tremonti lives multiple lives. On the one hand, he’s guitarist for multi-platinum hitmakers Creed, and he helped to keep the guitar visible in the charts during the late 90s and early naughties when the instrument was in a bit of a holding pattern post-grunge and pre-Guitar Hero. On the other hand, he’s guitarist for a harder-edged rock band which features Tremonti’s Creed bandmates Brian Marshall and Scott Phillips plus vocalist Myles Kennedy. You’d think that with three quarters of the Creed line-up being shared between both bands there would be a lot of crossover, yet Alter Bridge is the band that those of us who heard Creed and thought “Hmm… talented band, not digging the material.” Much more than Creed, Alter Bridge is where you’ll hear Tremonti really pushing the envelope with thrash-influenced rhythms, shred-influenced solos and very dark, complex atmospheres. Seemingly buoyed by the positive reception to his solo album, All I Was, the guitarist has loaded Alter Bridge’s new album Fortress [Roadrunner] with aggressive rhythms, blistering lead chops and some of the greatest heavy guitar tones of the last two decades or so. Continue reading
Morley Pedals was started by brothers Raymond and Marvin Lubow in LA in the 1960s, when players were first really started to explore how they could use effects to enhance their music. Their first product was an electro-mechanical echo uni under the brand name Tel-Ray Electronics, but a subsequent product – a rotating speaker simulation in a box – provided the inspiration for the Morley name: the new unit was ‘More-Lee’ rather than ‘Less-Lee.’ But what really helped Morley to break into the big league was their line of treadle-operated pedals – wahs, volume pedals and the Rotating Sound pedal, the original ‘More-Lee’ pedal. Today Morley makes a variety of effects, including Steve Vai’s Bad Horsie and Little Alligator pedals, signature gear for Mark Tremonti and George Lynch. The company was bought by Chicago firm Sound Enhancements, Inc in the late 80s but Morley continues to use the innovations of the Lubow brothers as inspiration. I Heart Guitar caught up with Morley’s Bill Wenzloff to talk shop.
Tell us about your background as a player – how and why did you start? What did you play?
I started playing guitar at about age 12. I was already a Beatles fan but once I discovered Led Zeppelin, AC/DC, Deep Purple, Rush and other rock icons, I knew I wanted to play guitar. One of the first rock songs I learned was Dirty Deeds by AC/DC. It felt so awesome hitting those chords out of a loud amp; it felt slightly naughty and yet so cool. I was hooked. I played in many bands throughout my life; some original, some cover and even a few tribute bands (I was Ace Frehley in Kiss Tribute “Kissed” and Brad Whitford in Aerosmith tribute called “Big Ten Inch”). Music has been the one constant in my life and I am continually grateful that I have the gift of playing music.
I recently had the chance to talk guitar backstage with Alter Bridge guitarist Mark Tremonti prior to the band’s sideshow with Steel Panther during the monstrous Soundwave festival. Alter Bridge are about to release a live DVD via Roadrunner which will hopefully keep fans sated for a while in between Tremonti’s solo album and the next Creed recording. Mark is, and I say this in the most respectful way possible, a guitar nerd just like you and me, so it’s always fun to talk shop with him. So, enjoy!
How have the Oz shows been going?
We came down here without knowing what the crowd response was going to be, and it’s just like we’ve been touring here our whole lives. It’s incredible.
It’s been great watching you guys grow and evolve as a band, and especially seeing how nuts they go for you in the UK.
Yeah! This is very reminiscent of the UK over here in Australia. It’s seeming to grow very quickly. This is the second time we’ve been here and it’s already been over the top.
Slash got up and played a song with you recently. What was that like?
Oh it was great. Slash has played with us a handful of times now, and every time the crowd just eats it up. We love it. We’re all fans and we’re just honoured to have him out there.
And you’re playing with Steel Panther on this tour.
Yeah. We’ve known them for a while. We did a few shows in the States, we’re under the same management and they had the idea of putting us together on these sidewave shows. And I’ve jammed with them before, but I probably won’t do that tonight because they’re two very different shows.
UPDATE (4:46pm Melbourne time Tuesday August 9):
Statement from Soundwave on Twitlonger:
“It is with great sadness that we announce the cancellation of #swREVOLUTION
Many of the festival bands will still be coming to Australia in that time period and team up to bring you some very special shows. These will include multi band/mini festival line-ups in Brisbane, Sydney and Melbourne. We will be announcing these events in the next 7 days.
Tickets purchased online will be refunded automatically as soon as it can be processed. If you purchased from an outlet, refunds will be available next week from point of purchase.”
In an interview with radio station Nova, promoter AJ Maddah said: “We could have taken the option of linking through with the line-up as we have now – it would have obviously still been a much better financial outcome for us than to go through the road we have – but we just didn’t want to put an inferior product on the market.”
Radio station Nova has just posted the following on Twitter:
ok peeps, it is official Soundwave Revolution has been cancelled because the second headline act pulled out at the last minute.
Melodicrock.com then tweeted
If Soundwave is going to blame an unnamed second headliner for the demise of the festival I call BULLSHIT on that! Not with 40 other bands..
So… there we have it. Cancelled. Van Halen’s first-ever DLR-fronted Australian tour is off. Wanna know how I feel about this?
Rusty Cooley’s Guitar Asylum TV aits on Houston’s Channel 55 every Saturday night at 12:30am and is simulcast online the next day. Check out this episode featuring Alter Bridge’s Mark Tremonti and Myles Kennedy.
Part 1: Myles Kennedy shows Rusty Cooley his on-the-road guitar collection and gear. Mark Tremonti jams backstage with Rusty Cooley.
Part 2: Rusty Cooley’s Master Class and another guitar tech tip from Guitar Guru Mike Nedd
Part 3: Myles and Mark sit down backstage to answer questions from the fans. Myles discusses the differences between his playing style and Mark’s playing style to create the Alter Bridge sound. Mark talks about how he met Myles and more!
AB III is a landmark album in the still quite young career of Alter Bridge. Far more than just ‘Creed with a different singer,’ the band has always had its own thing going on, but AB III kicks it up a notch. It’s loud, angry, hurt, dark, mysterious and heavy, yet at times it’s also bright, optimistic, reassuring, even straight-up happy. I spoke to guitarist Mark Tremonti, who was in the midst of a European tour.
You know how good the album is, right?
(Laughs) Thank you very much! Appreciate it!
How do you feel about it?
We feel great! It was a good time that we put into writing and recording it, and it turned out the way we wanted it to. The response from fans has all been overwhelmingly positive so far.
You’re releasing the album yourself in the US on November 9, but it’s in the very capable hands of Roadrunner for the rest of the world and has already been released in other territories. Why?
We had to look at all our options, and our managers deal with that side of things, and they felt that was our best option for the States. At first we tried to be on Roadrunner both in the States and internationally, but I don’t think they thought we had a radio single for the States, that it was more of a European-sounding record, so we went a different route.
It is a very European-sounding, dark album.
I think it’s just a combination of where me and Myles were at. I grew up listening to heavy, dark music and I’ve always been a fan of darker music. Not that we’re dark people, but we like to evoke emotion, and either write a song that makes you feel really good or write a song that makes you really think and feel really moody. It’s just a combination of me pushing dark-sounding atmospheric music and Myles writing the darkest lyrics he’s ever come up with, and it’s just a perfect storm.
Well everyone needs their Empire Strikes Back, y’know?
Just don’t go filling the next album with Ewoks.
Haha, exactly. Yeah.
There are lots of cool middle eastern-sounding scales on the record.
I think both me and Myles just played to fit the song. We weren’t really thinking of any scales in particular. I know that on my end, for the guitar solos and whatnot I was just trying to fit the chord changes. I just played for the song.
Do you have a favourite guitar part or solo?
I think the solo for All Hope Is Gone is my favourite solo. Favourite guitar part in general would probably be the intro to Life Must Go On. It’s a part that’s been floating around for quite a while.
What gear did you use on the record?
I used pretty much the same gear as the last album, except this time I used a Fender Tonemaster layered on top of the Bogner Uberschall and Mesa Rectifier.
What’s your approach to tone? I notice you’re using amps that have a shitload of gain on tap, but you’re holding back.
Yeah, it’s something I learned from Elvis on the last record: to record with a small amount of gain to really get stuff to cut through, so you can hear every bit of whatever riff that’s happening or whatever part that’s happening. If there’s too much gain you lose that clarity. It makes a big difference.
What about guitars?
I just used my signature model Paul Reed Smith. I think the only other guitar I used – other than acoustic Taylors – was on some clean tracks. PRS made me a guitar, like a Strat-style, three single coil, maple neck guitar that sounds really good on clean stuff. Sometimes I’d layer with that. That was about it.
Have you tried the baritone 8-string Taylor?
No I had not. Didn’t know it existed. Wow, I’ll be calling them when I get off the phone! I need to get that for sure!
You have a lot of guitar technique – how did you develop that? Were you always technically minded or did you hit a point where you decided to really work on that stuff?
I just always try to learn something new every day. I’m a big fan of the guitar so everywhere I go I have tonnes of guitar instructional DVDs. I still look for new ones that come out. No matter what style it is, I’ll buy it. If it’s something I don’t have, I’ll get it. If I’m getting on a plane I’ll watch country chicken pickin’ DVDs or whatever it is, because you can learn something from everybody. I’ll also get on sites like guitarinstructor.com or bluesjamtracks.com or YouTube or I’ll search everywhere I can looking for inspiration. Sometimes you’ll find it in the least likely spots, from some guy you’ve never heard of.
What are your favourites at the moment?
Right now I’m putting a lot of time into Robben Ford. Years ago I would have thought you couldn’t use a lot of his approach in hard rock, but I think you can if you learn the right tunes. He does a lot of blues-based stuff that you can use right away. I’m into him lately, I’m into a guy named Matt Schofield that not a lot of people that I’ve talked to have heard of, but he’s great. Audley Freed is a big one for me over the last few years. Warren Haynes. I went through all my shred years and just kinda switched gears a couple of years ago, going for the more old-school approach to bluesy phrasing and chord tone soloing. Lately I’ve been trying to step into the jazz world, not to play jazz but to try to understand more of the theory side of things and to have it readily available whenever I’m playing. I’ve looked at some piano lessons and there’s a guy named Charlie Banakos that taught a lot of jazz guys, so I’m trying to dig out some old exercises that he’s taught.
Any plans for a solo album?
I’ve started to put together some songs. With the last couple of years with everything that’s happened – Myles going out with Slash, the Creed reunion and everything else – there’s going to be some downtime when we’re waiting for Myles to get done so we can get back out on tour, so in those times I’ll be putting together a solo record. At this point I think I only have about five songs I’ve demoed, and every time I have a couple of months I’ll put together a handful of songs and see what happens with it.
What kind of direction?
It’s going to be mostly just melody, song-based stuff. It’s not going to be like a progressive instrumental record. It’s going to be more of a melody-driven, song record. I do want to do it at some point, I’ve just got to find the time.
What are your favourite instrumental albums?
Alien Love Secrets was a big one for me. I spent a lot of time with Tender Surrender. I spent four months learning that song, and now I’ve forgotten it! I like a lot of the Larry Carlton stuff, the Robben Ford stuff… for me it’s like, songs instead of records. I’ll just dwell on one song for a long time. There’s just so much of it I don’t know where to really hone in on! Paul Gilbert had a lot of influence on my learning to pick and shred. Intense Rock was probably my favourite DVD for a long time.
Any plans to come to Australia any time soon?
We actually just talked about that with our agent the other day. They were talking about maybe targeting October of next year. We’ve just gotta see what happens next year. We have to plan so far ahead with the Slash tour and our tour, so we have to just let our agents point their finger in the right direction for us.
Yeah, I guess you couldn’t force Myles to do double duty and wear the poor guy out.
We’ve talked about it – have Alter Bridge open for Slash.