TC Electronic’s TonePrint line of effects ignited a revolution in the way guitarists approach stopboxes. These compact but powerful little pedals give you all sorts of effect parameters which you can set by yourself, but they also reserve a separate memory slot for you to load presets designed by some of the greats, who have access to even more parameter control than the pedals themselves let you tweak. You can beam these presets to your pedal via an iPhone or with a USB cable, and sound like your favourite artist. The Flashback Delay is a very versatile little pedal with six seconds of delay time, multiple delay types and a handy toggle switch for varying between quarter, 16th or dotted 8th notes, but it’s a little too simplified for those with complex delay needs. Enter the new Flashback X4.
Ron Thal – also known as Bumblefoot – is perhaps best known these days as one of the guitarists in Guns ‘N’ Roses, but long before he was sharing the stage with Axl Rose on a nightly basis, he was an experimental guitarist cranking out such stunning displays of virtuosity as his 1995 debut, The Adventures of Bumblefoot. Long out of print, this instrumental gem comes off as a conglomeration of Zappa, Loony Toons, Spy Vs Spy and a medical dictionary. The album was recently re-released along with bonus tracks (and a portion of the proceeds will be donated to MS research), and a TAB book of every guitar part on the album, prepared by Bumblefoot himself is also out now. I caught up with Bumblefoot to discuss the reissue and what it was like to be an instrumental guitarist recording at home in the 90s.
Let’s hop in the Wayback Machine and jump back to back in the day when you recorded The Adventures Of Bumblefoot.
Let’s see, this was the early 90s – god, can I remember that far back? I was teaching music at a school, every grade from pre-school up to 18 years old, and they didn’t have a music department, so I set up an entire music department for them doing music for children and doing music history, I set up a jazz band, a choir, everything for the whole school. The school ran out of funds and it reached a point where I was just looking at life and I thought, ‘There’s no such thing as job security. You just have to follow what you love.’ And I did love doing that, but I would do that during the day then I would put braids in my hair and jump in the car and go and do some gig out in New York City at night, then get home at 4 in the morning and an hour later get up and teach again. It was at a point where I really needed to make a choice whether I wanted to have the more normal, safe life, or did I want to really be a full-time musician and jump in and learn how to swim. And I took the leap and six months later I had the record deal with Shrapnel Records. Originally we had spoken about him signing my band and doing vocal music, but to start off he wanted me to do an instrumental album to keep in line with everything that Shrapnel does. So I had a few songs already existing, just a small handful of them, and one of them was the song Bumblefoot. And I figured it could spark a nice little theme for the the album. And from there I started writing other songs that were also named after animal diseases and in the same vibe, with this bumbling spy kind of vibe to it – something between Pink Panther and Get Smart, and very quirky and comical, and just me, because I was a pretty quirky and comical human being. The album pretty much flowed out naturally and easily and quickly. By then it was the end of 1994, and it was out by May of the following year.
How was it recorded? Beavering away in a home studio?
Yes, it was more home than studio! At the time I was still living at home with my parents, and I had a little spot in the basement where originally I had a 15IPS reel-to-reel 1/4″ eight track and a tiny little eight channel mixing board, and I did everything from that. When I got the record deal with Shrapnel I invested in two ADATs, a 24-channel Mackie board, two Alesis 3630 compressors … did I even get more mics? I think I just used what I had, which was a couple of Shure 57s and a Sennheiser 421. I had everything stacked against the wall of my parents’ basement, and that was it! I can still picture it. I didn’t even have studio speakers or anything like that. It was too noisy – it would have interfered with everyone trying to sleep at 3am – so everything I did was through a pair of old headphones. After that was just a Marshall half stack with a blanket over it and a little SM57 under the blanket. Every now and then you’d peek under the blanket to make sure the weight of it didn’t move the mic to some funky angle or anything like that. I had a little footswitch that was very simple, just Record/Play. That’s all it did. It had a slight delay to it, so I would always have to hit it a little bit earlier to have it kick in where I wanted it to. It was never on beat, and you’d just have to smack your foot down at this awkward spot and it would manage to kick in at the right time right on the right beat when you needed it to.
I believe you used some pretty freaky guitars back then.
Yeah, I used to make my own stuff, just my own little monstrosities. Usually I would just take some guitar and modify it until it was a freak. I’ve still got them all. Don’t use them all any more. Since then I’ve graduated to playing guitars that professionals have built, and it’s certainly a lot better trying to find your way around a guitar that’s built by people that know what they’re doing, as opposed to me who just closes his eyes and starts drilling holes.
Do you ever get people bringing you replicas of the ‘swiss cheese guitar’ and stuff like that?
Yeah, that used to happen a lot! I used to have a page on my site where people would send me photos of their own versions of the swiss cheese guitar that they’d made.
What was the deal with the one that had the bass neck bolted on it?
(Laughs) Looking back I probably shouldn’t have done those things to the guitars I did it to. That one was, I think, a reissue of a 50s Stratocaster. It was a really nice Stratocaster, but the thing would not stay in tune. It was real squealy. The neck was constantly bending all over the place, and to me the value of a guitar comes from how it is in your, hands, not the name or the date. So I took the thing and I just chopped it up, and on the bottom horn I took a bass neck, I cut it in half at around the 7th fret, pulled all the frets off and refretted it to have the spacing that would fit a guitar that was starting at the 12th fret. I set it into the bottom horn of that Stratocaster and had a little Badass bridge that I spaced at the right spot, put a DiMarzio Super Distortion in there, and had this little mini guitar sticking out of the bottom horn. Everyone once in a while I would flick a toggle switch down to it and hit these notes that would just squeal and scream so hard. It was just brutal. Just that tone that would go right through you. I was playing at this place in Brooklyn, and at the end I was using that guitar, and I switched to that neck and was holding this one note, and the whole audience was holding their ears in pain. I was just like, ‘Yeah.’ I was loving torturing everybody. It was cool.
Ron Thal, better known as Bumblefoot, is a busy dude right about now. In addition to his solo career – including his latest album Abnormal, now distributed here in Australia by Riot Entertainment – he finds time for projects such as playing guitar for metal queen Lita Ford and being lead guitarist in a little band you may have heard of, Guns ‘N’ Roses. Thal’s workaholism verges on the humbling, and when I first called for our interview he was baled up in band rehearsal. When I called back later it was pretty late for Bumblefoot but I found him as animated and excitable as his playing.
How ya been?
Good, good! Been insanely busy, but I always seem to be like that. I never know how to say no to things, at the sacrifice of sleep and sanity.
Who were you rehearsing with today?
I have a new band that I’m starting up. I don’t want to say anything about it until the line-up is exact. We’re just waiting to see who our bass player is definitely going to be, but it’s going to be heavier than a lot of the other stuff I’ve done. It’s gonna be interesting. A lot of fretless guitar. I’m really looking forward to recording and touring and getting it out there really quick.
Is it going to be under your name, or are you gonna do a Chickenfoot?
It’s gonna be a different one. Actually I saw Chickenfoot last night. I got to hang out with Joe Satriani a little bit and catch up. They have such a great vibe, so down to earth and just having fun. Picture the Hagar-era Van Halen with Chad Smith, Chilli Pepper grooves and impeccable, ass-kicking guitar every time. It’s just a great thing.
Now, my first question was submitted by my mate and fellow Aussie guitarist Chris Szkup (www.cs-songs.com)
Chris Szkup! Wonderful guy!
Oh man, let’s start off with the flight to Australia. At first I was dreading the flight because it was a good 14 hours, but it was the most comfortable flight I’ve ever been on. It was the first time I actually had a full comfortable night’s sleep on an airplane in my entire life, so it’s the first time I ever experienced that. So it was off to a good start. I think we landed in Sydney then shot all the way over to Perth. Then we drove up to Fremantle and visited Bon Scott’s grave, paid our respects. Just the little things you remember. I remember being on a train and there was a young girl who had part of her face painted – she was going to a football game and the way it looked was something different to what you see in America. She had a little flag painted under her eye. It’s the little things like that. I remember those things more than the shows. Just the normal, human moments. Those are the things that really stand out. Y’know, the view from the hotel in Sydney overlooking the Opera House and the bridge and everything. Walking around with my wife, Sebastian Bach and a couple of guys from his band, and suddenly some guy in a trenchcoat comes running up to us going “Hey! Hey! Hey!” and he opens his coat up and pulls out Axl’s microphone. It turns out that the night before, when Axl through his microphone out, that’s the guy that caught it. Oh what else… I remember also in Sydney eating in a really nice restaurant along the water at night… just the nice moments like that. The shows are always… how do you even describe a show? It starts and your brain is in this other mode, and next thing you know the show is over and it’s more like one of those hazish dreams: “Did I just play, or didn’t I?” So unless something very significant happens in the show, I don’t really remember the show in a very clear way. But it’s everything after. Going back afterwards and meeting Chris Szkup and his girl, hanging with them. I can still picture seeing them and this nice drawing they gave me in a frame, which is hanging in my living room right now. It’s hanging over my wife’s head as she’s sitting on the couch right now watching Hell’s Kitchen on TiVo. So it’s little things like that. No matter what happens, good or bad, those are the fond memories that make it an endearing experience you cherish. The dinners, the hanging out.
One thing I thought was really cool was the bio on your site. I’m so tired of reading really stuffy bios. Yours is more like a real autobiography. You started playing from a pretty early age?
Yeah. It was the whole KISS thing. A lot of people from my generation heard the KISS Alive album for the first time and it got them so psyched up that they felt like they needed to experience that themselves – then spent the next 20 or 30 years working towards it. It’s the same kind of story. I was 5 years old and all the older kids in the neighbourhood got KISS Alive. Where I grew up there seemed to be two ages of kids: all the kids that were my age, and all the kids that were two or three years older. And the younger ones seemed to get exposed to a lot of the culture of the ones who were a little bit older. So I was five, six, seven years old and going out buying Boston’s first album, Yes’s ‘Going For The One.’ Blondie’s ‘Parallel Lines.’ Ramones’ ‘Rocket To Russia.’ Really getting exposed at a much younger and maybe even more impressionable age. And KISS and the Beatles, those were my two favourites that made me really wanna make music. KISS made me wanna get up on a big loud stage and put on a crazy show, but the Beatles made me truly love music. That’s what made me want to lock myself up in a studio, splice up tape, turn it backwards. All that kind of stuff. That was the creative inspiration.
That’s cool! For me my first hero was Mark Knopfler and I started playing when I was about 7, but then I saw Steve Vai in David Lee Roth’s ‘Just Like Paradise’ video when I was 10 and I was like, ‘That’s so cool! I’ve gotta do that!’
Yeah! The whole Van Halen, Steve Vai, Satriani thing, all those guys, they’re the ones that took everyone into guitar and showed them a whole other realm out there. They just make you rethink everything and start challenging yourself.
Let’s talk about Abnormal. It sounds so energetic and powerful and freaking awesome.
About five years ago I got an old house. I don’t live there, I just use the place to make a lot of noise and piss off the neighbours. When I got this house I started slowly renovating it and turning it into more of a studio than a house. That’s the Batcave, a place to get away from home and just have a place where there’s no internet, no phones, no cable, no TV, no anything. All you can do there is make music. And that’s where I go when I’m producing, if I’m working on my own stuff, whatever it is, that’s my Batcave.
What do you use to record?
It’s a combination of things. Way back when, everything I had was reel-to-reel, just little Mackie boards. After that ADATs and DA88s, then a Mac with Logic, then a PC with Cubase. For the longest time it was just digital, then last year I went and got a whole bunch of crazy analog gear, like the really expensive stuff that makes you really question if you should have spend that much. The tube EQs, the compressors that you just can’t hear any artefacts no matter how much you squash. I think people always have this ‘or’ mentality instead of ‘and.’ They don’t realise it’s meant to be analog and digital. Each one has something the other has and the other hasn’t, and together you get everything.
One thing I really like about Abnormal is the power of the rhythm guitars, and just how animated the vocal takes are. You can just tell you really mean it.
On this album I dug really deep and you can hear everything I was into at that primal, youthful… Sex Pistols, Ramones, AC/DC. Just a culmination of life up to that point. Like at moments you can probably pick out Van Halen, even Allan Holdsworth, maybe Yngwie, maybe Ace Frehley. All kinds of things. I think that album is a pretty good culmination. It’s sort of the score card adding up everything. It’s like ‘Here’s where your life is at up to this point.’ When I do these albums, that’s what they are. They’re as biographical as the bio on the website. I just put it all out there and spill my guts.
The energy almost makes it feel like a live album.
I definitely wanted that feel. Very natural, not studio-processed, not ‘Let’s do it again and make sure we got the right take.’ It was like, ‘That take is all screwed up but it’s honest and pure and human as you can get, so let’s go with that one.’ So if there’s a screw-up in there, if the voice cracks, keep it! That’s being real! Those are the things you rewind, like, ‘Listen to the way his voice broke up!’ Those are things that can’t be repeated. You caught a real human moment. It’s so easy to get obsessed and start just over-magnifying all the little things, I guess getting microscopically immersed in it to the point that you’re counting the tiniest little things, driving yourself crazy for an hour comparing two different takes. Don’t overthink it. If it’s right, trust your instincts and move on. If you were to take Robert Plant’s vocal takes and nothing else, you’d hear all these little noises and things that sort of get eaten up by the music, yet if they weren’t there, there would be something very sterile about it. On some level that stuff just gets into your soul. When the true spirit is there, you feel it. I think that’s the mistake people make these days. Because of the ability to edit so much, we’re editing away our spirit in the music.
One of my favourites is on David Bowie’s ‘Thru These Architect’s Eyes’ from ‘Outside.’ His voice cracks in the most awesome way. He’s trying to reach the notes and he’s pushing too hard but it’s perfect.
Yeah! The vulnerability, the strength when you’re just willing to let yourself be imperfect. It’s touching, it really is.
Are you much of a gearhead?
In some ways I am and then I tend to reel myself in. If it sounds good and it’s workin’, don’t overthink it. Find myself starting to get too geeky, then I just say, ‘Screw it, just give me an amp and I’ll plug in and play.’ With G’n’R the rig is an ENGL setup that I sort of modified. There’s an E580 MIDI II preamp. I can change the patches as well as anything else MIDI just from foot pedals. I had it modified so it’s even smoother when you go from one channel to another. I had them come up with some kind of circuitry to make it even less of a gap. That’s going into an ENGL 100 watt E850 power amp. That one, I had tried one with EL34s which I personally prefer, but with G’n’R where you have drums, loops, bass, keyboards, another set of keyboards, two other guitar players, vocals and backing vocals, it was getting a little bit lost. The EL34s weren’t cutting through and I found that the 6L6s in the power amp were very biting and very tight and they would just cut through everything.The tone was very pointy and stuck out. But it wasn’t as warm and comfortable as the EL34s. So what I have is, the left channel is 6L6s and the right channel is EL34s, and the front-of-house engineer can blend the two to get exactly what’s needed that’s gonna work best.
Can we talk for a moment about Les Paul?
I met his son a good handful of times at different events with Gibson. One thing that I’m so pissed about is that there are a lot of times when people said to me, ‘Man you’ve gotta come down and see Les Paul, he plays in the city every week and you could probably get up and jam with the guy. And I was like, ‘definitely wanna do that one of these days, definitely wanna do that one of these days.’ And now I can’t. But god, that guy, talk about the Thomas Edison of music. From multitrack recording to effects to the Les Paul. But all other things aside, we all remember him as the guitarist and the inventor and the innovator, but he was a member of a family and a person, and I think of it more as a personal loss for them, and I just wish his family the best.
Let’s talk about Chinese Democracy. Production-wise I think that was one of the best-sounding albums to come out last year.
Mastering was such a big issue and they were so meticulous about everything about it to make sure it stayed clear and the vision was realised. Mastering was a big part of making that happen. I think it was the first album of hopefully a lot more to follow that decided that quality was more important than the volume war – it would rather be not as loud and in-your-face, but something that keeps its dynamics and bandwidth. It’s such a full recording. There’s so much going on in it, so much information to be processed as you listen, that it needs to be clear and pulled back so you can really get it without it being just this giant square wave. So I’m hoping that with other albums that follow, people will start realising, ‘Hey, we can just turn up our stereo, turn up our iPod…’
What are your favourite moments on Chinese Democracy? For instance, my favourite track is ‘Better.’ What’s going on there?
There are little things I added to it. Besides the rhythm track I put in, there were some little bluesy riffs at the end of the second verse, just little things like a five-beat break after the Buckethead solo, then there’s the loud, screaming part going on… after all of that there was a break that was just keyboards and I just put in a simple thing with my fretless guitar. Just little things where, knowing I contributed something of value. But there are so many little things where you can go through it and find something that’s so interesting about the production, or musically, or performance-wise?
Are there any plans for more G’n’R touring?
There have been a lot of plans, it’s just that when it comes to battling the economy… there are so many variables that could make it not work. I’m guessing at this point that if something is confirmed, management would let everyone know. So at this point if I said anything it would be premature, so I should just wait for them to say anything.
In a posting on his forum, Ron Thal (Bumblefoot) just said this:
It’s my pleasure to announce I’ll be doing shows over the Summer with Lita Ford, playing guitar with the band alongside Bumblefoot drummer Dennis Leeflang.
To GNR fans: Lita and I have GNR’s blessings to do this together, all is cool. This won’t interfere with upcoming GNR plans, I’ll be flying out and coming right back.
To Lita fans: lookin’ forward to meeting y’all and having a great time together!
FRI JUNE 12, 2009
Redwood Run (Piercy, CA)
SAT JUNE 13, 2009
Jackson Ranchero Casino (Jackson, CA)
SUN JUNE 21, 2009
Meltaway Festival (Zaragosa, Spain)
FRI JUNE 26, 2009
Bang Your Head Festival (Messegelände Balingen, Germany)
SAT JUNE 27, 2009
Gods of Metal Festival (Milan, Italy)
TUE JUNE 30, 2009
Rockwave Festival (Athens, Greece)
FRI JULY 3, 2009
Summerfest (Milwaukee, WI)
SAT JULY 4, 2009
Bridgeview Music Jam (Bridgeview, IL)
FRI JULY 17, 2009
Monndance Ranch Jam (Walker, MN)
FRI JULY 24, 2009
Molson Canal Concert Series (North Tonawanda, NY)
SUN JULY 26, 2009
Ridgefield Playhouse (Ridgefield, CT)
MON AUG 3, 2009
Buffalo Chip (Sturgis, SD)
SAT AUG 22, 2009
Rock Gone Wild (Algona, IA)
SAT SEPT 5, 2009
Taste of Cleveland (Cleveland, OH)
Before you can take an honest look at ‘Chinese Democracy,’ you have to address and then dismiss a few key facts: Yes, the only original member left is Axl Rose; yes, it’s 17years since ‘Use Your Illusion 1 & 2’; no, it’s probably not going to live up to the expectations created by that 17 year wait; and no, you can’t get your free Dr. Pepper unless you’re an American resident. It’s impossible to listen to this album without being aware of its history – starts, stops, hirings, firings, postponement after postponement. But ultimately this context has to be put aside if you have any chance of listening to the album for what it is: 14 songs by the guy who sang ‘Welcome To The Jungle.’
Opening with an atmospheric, chattering soundscape (courtesy of Eric Cardieaux, who has done a lot of work with Joe Satriani), followed by a heavily processed but very much rock-approved guitar riff, Axl suddenly breaks through the din with that famous scream, and the preceding 17 years are all but forgotten. The high notes are still there, and so is the attitude, and sure, the vocals could have been pieced together from studio sessions dating back to 2005, but Axl sounds happy to just be singing again. The sound is updated, semi-industrial, and very, very polished. It sounds like every dollar of the rumoured $14 million or so was used on the recording process rather than private jets and bike shorts.
Track 2, ‘Shackler’s Revenge’ continues, and in fact enhances, the industrial vibe with a pre-chorus straight out of the NIN songbook and a riff which would be at home on Max Cavalera’s Nailbomb side project. Track 3, ‘Better,’ is my frontrunner for song of the year. I can’t get this freaking thing out of my head, and that’s okay with me. Processed guitars and falsetto vocals set up the mood, and some on-the-off-beat guitar rhythms give the verses a sense of propulsion. Wild sweep-picked licks cap off the choruses, and Buckethead throws in a typically unpredictable ear-candy solo. Then NIN guitarist Robin Finck kicks in with a soulful, lyrical solo which reminds me of Ritchie Kotzen’s Telecaster tones and clean phrasing. Compared to the virtuosity of Buckethead and Ron ‘Thal’ Bumblefoot, Finck’s solo is reminiscent of the bluesier spirit Slash brought to the band.
Bumblefoot has a few cool guitar moments scattered throughout the album, as does Buckethead, and Finck can be relied upon for more tasty blues phrasing before the album is through, but for an act that’s so much a part of hard rock history (and with 6 guitarists listed in the credits if you count Axl), there’s less guitar here than you might expect. Around the middle of the album, things get very ‘November Rain.’ There are 4 midtempo piano songs in a row, coloured with varying degrees of drum loops and synth pads, at times sounding like the Bowie-and-electronica-influenced solo album of Queensryche’s Geoff Tate, and at other times recalling the ‘right up-to-date when it was released’ sounds of Sting’s ‘Brand New Day’ album – which would have been great news if Chinese Democracy was released in 2000, but which makes it sound a little dated today. The melodies are carefully crafted and the mood ranges from intimate to epic, and the overall pacing has a bit of a concert vibe (albeit compressed into just over an hour).
Piano time draws to a close and leads to the Zep-ish ‘Riad & The Bedouins,’ which has an almost prog vibe and some crushing guitar riffs, topped off with some classic 70s glam. The proggy vibe continues with ‘Sorry,’ which has a kind of 90s Black Sabbath vibe. Then ‘IRS’ brings in a bit of classic G’n’R rock mixed with more of that Tate-ish vibe. ‘Madagascar’ is another big epic, and one of a bunch of Chinese Democracy songs played on tour over the last few years. ‘This I Love’ is almost contemporary musical theatre with yet more piano and overblown arrangement, and finally ‘Prostitute’ caps off the album with some uptempo drums, soaring vocal melodies, and finally a quiet, peaceful orchestral finish.
‘Chinese Democracy’ may not be the greatest album of all time, but it’s surprisingly coherent despite its eclecticism, and while it comes close to collapsing under the weight of not only public anticipation but also its own overdubbed bloat, it seems to remain on track and provide a compelling listening experience. Sure, it’s not the album G’n’R would have made if Slash, Duff, Izzy, Gilby, Matt, or even Steven Alder were around, and it has its flaws, but if you treat it as an Axl solo album, you may be very pleasantly surprised. Just don’t expect a hard rock album.
Just got back from JB Hi Fi on Melbourne’s Bourke Street, where I picked up a copy of Guns N’ Roses Chinese Democracy for a mere $18.99. The official release date is listed as November 24. I won’t get a chance to give the album a spin until later tonight, but I’ll give it a good flogging and post a review tomorrow, specially geared towards guitarists, since there are probably a lot of reviews out there already.
Guns N’ Roses guitarist Bumblefoot, or more formally Ron Thal, is known in guitar circles for his dizzyingly original compositions sense and his near impossible command of the axe, and in the new incarnation of the mighty Gunners he gets to flex his musical muscles over classic material as well as soon-to-be-classics from the forthcoming album, Chinese Democracy.
A succession of legendary axemen have occupied the guitar chair in Guns N’ Roses over the years, including not only Slash but, briefly and unofficially, Ozzy and Black Label Society shredder Zakk Wylde too. Freak-in-residence Buckethead held the coveted role for a few years before Bumblefoot picked up the baton. “It was through a recommendation – we started chatting in 2004, and it all came together by 2006,” he says. “It’s been a good year…”
Bumblefoot can’t be drawn on a single favourite Gunners track to play live, instead settling on “Every f**king one of them. I can never pick a favourite – each song has something about it, a cool riff, melody, groove, the energy and attitude, they all have something special about them, ya know? The new songs get pretty deep, really dig ‘em. So yeah, all of them.” And how did Bumblefoot feel playing on stage with G n’ R for the first time? “A little hungry.”
Guitar-wise, Bumblefoot keeps his Gunners gear minimal. “I keep it as simple as I can – Gibson Flying V for most of the show, a Parkwood acoustic and Vigier fretless guitar. Plug into a Line6 Vetta2 head and 4×12 cabs, and that’s it. Plug ‘n play, real simple.”
Amongst many other feats of technical and musical daring, Bumblefoot is known for playing fretless guitar. How did he discover fretless guitar? “Vigier Guitars has been making a fretless for 25 years, but none of their artists really jumped on it. I figured I’d give it a shot, and see what comes of it. Definitely a different approach – no bending strings, vibrato more like a cello – takes a minute to adjust, but after that it feels natural.”
I once saw a DVD of Bumblefoot demonstrating some freakishly original two-handed tapping, a style often associated with dodgy 80s Van Halen ripoffs, but devastatingly awesome in the right hands. “I don’t think I’m doing anything physically different from other players, maybe just the choice of notes and phrasing. Maybe the only difference is the metal cap or thimble on one of the fingertips so I can tap above the fretboard and still get sustained notes off the string. You can hear that in the song “Guitars SUCK”, the real high notes, that’s all tapping with the thimble.”
Finally, Bumblefoot has advice for other guitarists who wish to inject more personality and uniqueness into their playing. “Just be yourself, don’t be concerned with popularity or trends or what other people think. Express yourself the way that feels right to you. Live life to the fullest so you have a lot of experiences to draw from, when you play. Enjoy yourself.”
Bumblefoot’s new album, ‘Abnormal,’ is available from Bald Freak Music.
Photo by Jarmo Luukkonen
The ridiculously long-awaited Guns N’ Roses album, Chinese Democracy, is finally slated for release on November 23 in North America and November 22 in Australia. In the US it will be carried by Best Buy stores. In Australia it will be released through Universal Music on CD and via digital download. In honour of this momentous event, check back tomorrow for an interview with G’n'R guitarist and solo genius Bumblefoot. Check out Undercover for more info on Chinese Democracy.
1. Chinese Democracy
3. Shackler’s Revenge
4. Street Of Dreams
5. If The World
7. This I Love
8. There Was A Time
9. Riad N’ The Bedovins
Q*Ball is an eclectic artist who combines electronica, rock, and pop melodies with a sense of sonic experimentation and musical colour evocative of Berlin era Bowie. His third album, This Is Serious Business, adds live drums, acoustic guitars and grand pianos, and welcomes back the guitar and co-production talents of Bumblefoot, guitarist for Guns N Roses but also an extraordinarily talented solo artist in his own right.
Unlike some electronica, the songwriting of This Is Serious Business is strong enough to stand up to any treatment – these are songs that would sound great strummed around the proverbial campfire or raging out of a rock band. The instrumentation adds a sophistication and groove that make the album feel high-tech yet timeless, and the clean, strong vocals show a calm sense of restraint which keeps the delivery from pinning the album to a specific time in musical history – this doesn’t sound like a naughties or nineties or eighties album.
My favourite track is ‘She Drives Me Crazy,’ a power pop track with powerful drums and an almost Lloyd Cole vocal delivery. It’s the closest thing on the album to an arena anthem yet would also sound great being blasted out in an indie club.
‘Pez Dispenser’ has an almost Nine Inch Nails feel, and ‘Baked On The Freeway’ reminds me of Butthole Surfers meets Earthling-era-Bowie.
This Is Serious Business is a very engaging album and the Bumblefoot contributions will be of special interest to us guitar geeks.