Tony Banks
Anthony George Banks (born March 27, 1950, in East Hoathly, Sussex, England) is an English songwriter, pianist/keyboard player, and guitarist. He is one of the founding members of progressive rock/pop group Genesis, and he is one of only two members ・the other being guitarist/bassist Mike Rutherford ・to belong to Genesis throughout its entire history.
Banks had classical training in piano, and taught himself to play guitar. He attended Charterhouse School in the mid-1960s, where he met fellow student Peter Gabriel in 1965. Together with drummer Chris Stewart they formed a band called The Garden Wall. This band merged with another called Anon, which included Rutherford and Anthony Phillips. They recorded a set of demos which ultimately led to the formation of the band that became Genesis.
Banks's elaborate keyboard solos ・such as the piano intro to "Firth of Fifth" and the instrumental section of "The Cinema Show" ・helped to establish Genesis's sound. In addition to playing keyboards, Banks contributed to Genesis's 12-string acoustic passages ・in songs such as "The Musical Box" and the intro to "Supper's Ready" ・together with Steve Hackett and Mike Rutherford. Banks was also an occasional back-up vocalist and sang lead on 1970's unreleased "The Shepherd" (a duet with Peter Gabriel) which finally surfaced on the Genesis Archive 1967-75 boxed set.
Notable Banks-penned songs from the band's repertoire include "Mad Man Moon," "One for the Vine," and the anthemic ballad "Afterglow," which remained a popular exeunt to the Banks-driven "medleys" (conglomerations of Genesis's most popular keyboard solos)that the group played during live shows for years.
Equipment used by Tony Banks over the years:
From Genesis to Revelation - 1969Acoustic Piano
Trespass - 1970
Acoustic Piano Hammond L-122 tonewheel organ Hohner Pianet N Mellotron Mk II - hired from King Crimson
Nursery Cryme - 1971
Acoustic Piano [used on album only] Hammond L-122 tonewheel organ Hohner Pianet N Mellotron Mk II - hired from King Crimson
Foxtrot - 1972
Acoustic Piano [used on album only] Hammond L-122 tonewheel organ Hohner Pianet N Mellotron Mk II - hired from King Crimson
Selling England By The Pound - 1973
Acoustic Piano [used on album only] - notably Firth of Fifth Hammond T-102 tonewheel organ Hohner Pianet N Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets. The flute set is used on The Battle of Epping Forrest ARP Pro-Soloist analogue synthesiszer
The Lamb Lies Down On Broadway - 1974
Acoustic Piano [used on album only] - Steinway - used on intro to The Lamb Lies Down On Broadway and elsewhere Hammond T-102 tonewheel organ RMI Electra 368 Electric piano Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets ARP Pro-Soloist analogue synthesiszer ELKA RHAPSODY analogue synthesizer
A Trick of the Tail - 1976
Acoustic Piano [used on album only] Hammond T-102 tonewheel organ -> Leslie Rotating Speaker RMI Electra 368 Electric piano -> Fender Blender fuzz effect and MXR Phase 100 phaser Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets-> Echoplex tape echo and MXR 10band EQ ARP Pro-Soloist analogue synthesiszer -> Echoplex tape echo andLeslie Rotating Speaker ARP 2600 analogue synthesiszer -> Echoplex tape echo - [studio only} Roland RS202 string synth
Wind and Wuthering - 1976
Acoustic Piano [used on album only] Hammond T-102 tonewheel organ -> MXR Phase 100 phaser and BOSS CE-1 stereo chorus RMI Electra 368 Electric piano -> Fender Blender fuzz effect and MXR Phase 100 phaser Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets-> Roland RE-201 space echo and MXR 10 band graphic EQ ARP Pro-Soloist analogue synthesiszer -> Roland Space echo ARP 2600 analogue synthesiszer -> Roland RE-201 Space echo - [used on album only} Roland RS-202 string synthesizer - [used on album only] Fender Rhodes electric piano - [used on album only]
And Then There Were Three - 1978
Acoustic Piano [studio only] Hammond T-102 tonewheel organ -> MXR Phase 100 phaser and BOSS CE-1 stereo chorus Yamaha CP70 Electric Grand piano -> BOSS CE-10 stereo chorus Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets-> Roland RE-201 space echo and MXR 10 band graphic EQ ARP Pro-Soloist analogue synthesiszer -> Roland Space echo ARP 2600 analogue synthesiszer -> Roland RE-201 Space echo - Roland RS-202 string synthesizer - [used on album only] Moog Polymoog polyphonic analogue synthesizer -> MXR Distortion+ and Phase 100
Duke - 1980
Acoustic grand piano (studio only) Yamaha CP70 (through boss ce1 chorus) Yamaha CS80 (through boss chorus)(studio only) Sequential Circuits Prophet 5 (through boss ce1 chorus and mxr phase 100) Arp Quadra (trough MXR Distortion) Moog Polymoog (studio only) Roland VP330 (trough MXR 10 band EQ and Boss chorus) Hammond T102 organ trough MXR phase 100 phaser and Boss CE1 chorus)
The CS80 was used a lot on the album aswell as t he CP70 piano. Tony used the Prophet 5 and Quadra on just a few occasions on the album. But the Quadra especially was used a lot as a polysynth and lead synth on the duke tour. The Prophet 5 was used more for string like sounds aswell as the flutes on dukes travles (last bars before dukes end kicks in) and cul-de-sac.
Abacab - 1981
Acoustic piano (studio only) Yamaha CP70 (through Boss CE1 chorus) Moog Polymoog (studio only) Yamaha CS80 (studio only) (through Boss CE1 chorus and mxr distortion) Arp Quadra (through mxr distortion and lexicon digital delays) Sequential Circuits Prophet 10 (through mxr distortion, mxr phase 100 and boss ce1 chorus) Roland VP330+ vocoder (through MXR 10band EQ) NED Synclavier 2 (studio only on just a couple of things. Banks had a lot of problems with the Synclavier at that time and he even regretted buying it) Rumours go that the EDP Wasp was used. Though I never could spot it on the album and there is no evidence that it was used at all... Tony didn't talk about it in interviews, nor did he mention it in tourbooks or liner notes. I wonder if he really had it...
Genesis - 1983
Yamaha CP-70 electric grand piano -> BOSS CE-1 Stereo Chorus ARP Quadra polyphonic analogue synthesizer Sequential Circuits Prophet-10 polyphonic analogue synthesizer - MXR Phase 100 and BOSS CE-10 stereo chorus NED Synclavier II digital synthesizer -(FM and Additive, no sampling option) E-mu Emulator early digital sampler Roland VP-330 Vocoderand string/choir [studio only] Some equipment put through MXR and Lexicon digital delays
Invisible Touch - 1986
Yamaha CP-70 electric grand piano (with Kenton MIDI retrofit) ARP Quadra synthesizer/string machine Sequential Circuits Prophet-10 synthesizer (with Kenton MIDI retrofit) NED Synclavier II digital synthesizer -( FM and Additive, no sampling option) E-mu Emulator II digital sampler (with analog SSM filter and VCAs) Yamaha DX7 digital FM synthesizer AKAI S900 12-bit Digital Rack sampler Roland MKS-80 analogue rack synthesizer Yamaha TX816 digital FM rack synthesizer - 8 DX7s in a rack Korg DVP voice processor - vocoder Equipment put through Yamaha REV7 digital reverb and Lexicon digital delays
We Can't Dance - 1991
Korg Wavestation digital vector synthesizer Roland JD-800 digital synthesizer Roland Rhodes MK-80 digital piano / mother keyboard Roland Rhodes VK-1000 digital organ / electric piano Ensoniq VFX digital synthesizer Yamaha CP-80 electric grand piano- (88 key version of CP-70 E-mu Emulator III digital 16 bit sampler Equipment put through Yamaha SPX1000 and SPX90 effects plus Roland reverb unit
The Way We Walk (We Can't Dance Tour) - 1991 - 1992
Korg Wavestation digital vector synthesizer Roland JD-800 digital synthesizer Roland Rhodes MK-80 mother keyboard Ensoniq SD1 digital synthesiser - More reliable sibling of VFX Sequenced by Alesis MMT-8 Tony used these synths to also control his 2x 20HE rack units with the following stuff in it:
E-mu Emulator III digital 16 bit sampler in rack form Kurzweil 1000PX digital piano module E-mu Proteus/2 XR sample playback modules (four units with Tony's own samples, one with Proteus presets) Voce DMI-64 MkII digital organ module (two units) Yamaha TX7 synth module - DX7 in a rack All of the above are mixed into 2 Roland M480 mixers and put through Yamaha SPX90 effects and a Roland SDE3000 reverb unit. All midi routings done by 2 MidiTemp MMP88 patchbays. Audio routings from the mixer through the effect units done with the Yamaha PLS1 line switcher which is also used to extract the JD800 audio and send it to the main PA desk.
Also used was a Midi Gate unit (brand unknown) which is used for the song Mama which they performed 5 times in the USA leg of the WCD tour.
Calling All Stations - 1997
Korg Trinity digital workstation synthesizer Korg Wavestation digital vector synthesizer Roland JD-800 digital synthesizer Roland JV-1080 digital rack synthesizer Yamaha CP-80 electric grand piano
Calling All Stations Tour - 1997 - 1998
Korg Trinity Plus digital workstation synthesizer Roland A-90 MIDI mother keyboard Roland JD-800 digital synthesizer These are then linked into 2 Opcode Studio 5 LX MIDI processor and 2 Custom-made MIDI mixers and used to control these rack units:
Two E-mu Emulator 4 digital 16bit rack samplers Two Korg Wavestation SR digital rack vector synthesizer Korg Wavestation A/D digital rack vector synthesizer and vocoder Korg 01R/W digital rack synthesizer Roland JV-1080 digital synthesizer 3 E-mu Proteus/2 XR digital sample playback modules E-mu Proteus/2 XR Orchestral digital sample playback module E-mu Proteus/1 digital sample playback module2 E-mu Vintage Keys digital sample playback module Yamaha TX7 synth module - DX7 in rack All of the above are mixed into a Mackie LM3204 line mixer then put through Yamaha SPX1000 effects processor (four units)and Roland SRV-2000 effects processor. A Yamaha PLS1 line selector sends this to a Chiddingford Mixer for his Shure SM600 transmitter to his ear monitor.
Monday, October 8, 2007
Tony Banks
Tony Banks
Anthony George Banks (born March 27, 1950, in East Hoathly, Sussex, England) is an English songwriter, pianist/keyboard player, and guitarist. He is one of the founding members of progressive rock/pop group Genesis, and he is one of only two members ・the other being guitarist/bassist Mike Rutherford ・to belong to Genesis throughout its entire history.
Banks had classical training in piano, and taught himself to play guitar. He attended Charterhouse School in the mid-1960s, where he met fellow student Peter Gabriel in 1965. Together with drummer Chris Stewart they formed a band called The Garden Wall. This band merged with another called Anon, which included Rutherford and Anthony Phillips. They recorded a set of demos which ultimately led to the formation of the band that became Genesis.
Banks's elaborate keyboard solos ・such as the piano intro to "Firth of Fifth" and the instrumental section of "The Cinema Show" ・helped to establish Genesis's sound. In addition to playing keyboards, Banks contributed to Genesis's 12-string acoustic passages ・in songs such as "The Musical Box" and the intro to "Supper's Ready" ・together with Steve Hackett and Mike Rutherford. Banks was also an occasional back-up vocalist and sang lead on 1970's unreleased "The Shepherd" (a duet with Peter Gabriel) which finally surfaced on the Genesis Archive 1967-75 boxed set.
Notable Banks-penned songs from the band's repertoire include "Mad Man Moon," "One for the Vine," and the anthemic ballad "Afterglow," which remained a popular exeunt to the Banks-driven "medleys" (conglomerations of Genesis's most popular keyboard solos)that the group played during live shows for years.
Equipment used by Tony Banks over the years:
From Genesis to Revelation - 1969Acoustic Piano
Trespass - 1970
Acoustic Piano Hammond L-122 tonewheel organ Hohner Pianet N Mellotron Mk II - hired from King Crimson
Nursery Cryme - 1971
Acoustic Piano [used on album only] Hammond L-122 tonewheel organ Hohner Pianet N Mellotron Mk II - hired from King Crimson
Foxtrot - 1972
Acoustic Piano [used on album only] Hammond L-122 tonewheel organ Hohner Pianet N Mellotron Mk II - hired from King Crimson
Selling England By The Pound - 1973
Acoustic Piano [used on album only] - notably Firth of Fifth Hammond T-102 tonewheel organ Hohner Pianet N Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets. The flute set is used on The Battle of Epping Forrest ARP Pro-Soloist analogue synthesiszer
The Lamb Lies Down On Broadway - 1974
Acoustic Piano [used on album only] - Steinway - used on intro to The Lamb Lies Down On Broadway and elsewhere Hammond T-102 tonewheel organ RMI Electra 368 Electric piano Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets ARP Pro-Soloist analogue synthesiszer ELKA RHAPSODY analogue synthesizer
A Trick of the Tail - 1976
Acoustic Piano [used on album only] Hammond T-102 tonewheel organ -> Leslie Rotating Speaker RMI Electra 368 Electric piano -> Fender Blender fuzz effect and MXR Phase 100 phaser Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets-> Echoplex tape echo and MXR 10band EQ ARP Pro-Soloist analogue synthesiszer -> Echoplex tape echo andLeslie Rotating Speaker ARP 2600 analogue synthesiszer -> Echoplex tape echo - [studio only} Roland RS202 string synth
Wind and Wuthering - 1976
Acoustic Piano [used on album only] Hammond T-102 tonewheel organ -> MXR Phase 100 phaser and BOSS CE-1 stereo chorus RMI Electra 368 Electric piano -> Fender Blender fuzz effect and MXR Phase 100 phaser Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets-> Roland RE-201 space echo and MXR 10 band graphic EQ ARP Pro-Soloist analogue synthesiszer -> Roland Space echo ARP 2600 analogue synthesiszer -> Roland RE-201 Space echo - [used on album only} Roland RS-202 string synthesizer - [used on album only] Fender Rhodes electric piano - [used on album only]
And Then There Were Three - 1978
Acoustic Piano [studio only] Hammond T-102 tonewheel organ -> MXR Phase 100 phaser and BOSS CE-1 stereo chorus Yamaha CP70 Electric Grand piano -> BOSS CE-10 stereo chorus Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets-> Roland RE-201 space echo and MXR 10 band graphic EQ ARP Pro-Soloist analogue synthesiszer -> Roland Space echo ARP 2600 analogue synthesiszer -> Roland RE-201 Space echo - Roland RS-202 string synthesizer - [used on album only] Moog Polymoog polyphonic analogue synthesizer -> MXR Distortion+ and Phase 100
Duke - 1980
Acoustic grand piano (studio only) Yamaha CP70 (through boss ce1 chorus) Yamaha CS80 (through boss chorus)(studio only) Sequential Circuits Prophet 5 (through boss ce1 chorus and mxr phase 100) Arp Quadra (trough MXR Distortion) Moog Polymoog (studio only) Roland VP330 (trough MXR 10 band EQ and Boss chorus) Hammond T102 organ trough MXR phase 100 phaser and Boss CE1 chorus)
The CS80 was used a lot on the album aswell as t he CP70 piano. Tony used the Prophet 5 and Quadra on just a few occasions on the album. But the Quadra especially was used a lot as a polysynth and lead synth on the duke tour. The Prophet 5 was used more for string like sounds aswell as the flutes on dukes travles (last bars before dukes end kicks in) and cul-de-sac.
Abacab - 1981
Acoustic piano (studio only) Yamaha CP70 (through Boss CE1 chorus) Moog Polymoog (studio only) Yamaha CS80 (studio only) (through Boss CE1 chorus and mxr distortion) Arp Quadra (through mxr distortion and lexicon digital delays) Sequential Circuits Prophet 10 (through mxr distortion, mxr phase 100 and boss ce1 chorus) Roland VP330+ vocoder (through MXR 10band EQ) NED Synclavier 2 (studio only on just a couple of things. Banks had a lot of problems with the Synclavier at that time and he even regretted buying it) Rumours go that the EDP Wasp was used. Though I never could spot it on the album and there is no evidence that it was used at all... Tony didn't talk about it in interviews, nor did he mention it in tourbooks or liner notes. I wonder if he really had it...
Genesis - 1983
Yamaha CP-70 electric grand piano -> BOSS CE-1 Stereo Chorus ARP Quadra polyphonic analogue synthesizer Sequential Circuits Prophet-10 polyphonic analogue synthesizer - MXR Phase 100 and BOSS CE-10 stereo chorus NED Synclavier II digital synthesizer -(FM and Additive, no sampling option) E-mu Emulator early digital sampler Roland VP-330 Vocoderand string/choir [studio only] Some equipment put through MXR and Lexicon digital delays
Invisible Touch - 1986
Yamaha CP-70 electric grand piano (with Kenton MIDI retrofit) ARP Quadra synthesizer/string machine Sequential Circuits Prophet-10 synthesizer (with Kenton MIDI retrofit) NED Synclavier II digital synthesizer -( FM and Additive, no sampling option) E-mu Emulator II digital sampler (with analog SSM filter and VCAs) Yamaha DX7 digital FM synthesizer AKAI S900 12-bit Digital Rack sampler Roland MKS-80 analogue rack synthesizer Yamaha TX816 digital FM rack synthesizer - 8 DX7s in a rack Korg DVP voice processor - vocoder Equipment put through Yamaha REV7 digital reverb and Lexicon digital delays
We Can't Dance - 1991
Korg Wavestation digital vector synthesizer Roland JD-800 digital synthesizer Roland Rhodes MK-80 digital piano / mother keyboard Roland Rhodes VK-1000 digital organ / electric piano Ensoniq VFX digital synthesizer Yamaha CP-80 electric grand piano- (88 key version of CP-70 E-mu Emulator III digital 16 bit sampler Equipment put through Yamaha SPX1000 and SPX90 effects plus Roland reverb unit
The Way We Walk (We Can't Dance Tour) - 1991 - 1992
Korg Wavestation digital vector synthesizer Roland JD-800 digital synthesizer Roland Rhodes MK-80 mother keyboard Ensoniq SD1 digital synthesiser - More reliable sibling of VFX Sequenced by Alesis MMT-8 Tony used these synths to also control his 2x 20HE rack units with the following stuff in it:
E-mu Emulator III digital 16 bit sampler in rack form Kurzweil 1000PX digital piano module E-mu Proteus/2 XR sample playback modules (four units with Tony's own samples, one with Proteus presets) Voce DMI-64 MkII digital organ module (two units) Yamaha TX7 synth module - DX7 in a rack All of the above are mixed into 2 Roland M480 mixers and put through Yamaha SPX90 effects and a Roland SDE3000 reverb unit. All midi routings done by 2 MidiTemp MMP88 patchbays. Audio routings from the mixer through the effect units done with the Yamaha PLS1 line switcher which is also used to extract the JD800 audio and send it to the main PA desk.
Also used was a Midi Gate unit (brand unknown) which is used for the song Mama which they performed 5 times in the USA leg of the WCD tour.
Calling All Stations - 1997
Korg Trinity digital workstation synthesizer Korg Wavestation digital vector synthesizer Roland JD-800 digital synthesizer Roland JV-1080 digital rack synthesizer Yamaha CP-80 electric grand piano
Calling All Stations Tour - 1997 - 1998
Korg Trinity Plus digital workstation synthesizer Roland A-90 MIDI mother keyboard Roland JD-800 digital synthesizer These are then linked into 2 Opcode Studio 5 LX MIDI processor and 2 Custom-made MIDI mixers and used to control these rack units:
Two E-mu Emulator 4 digital 16bit rack samplers Two Korg Wavestation SR digital rack vector synthesizer Korg Wavestation A/D digital rack vector synthesizer and vocoder Korg 01R/W digital rack synthesizer Roland JV-1080 digital synthesizer 3 E-mu Proteus/2 XR digital sample playback modules E-mu Proteus/2 XR Orchestral digital sample playback module E-mu Proteus/1 digital sample playback module2 E-mu Vintage Keys digital sample playback module Yamaha TX7 synth module - DX7 in rack All of the above are mixed into a Mackie LM3204 line mixer then put through Yamaha SPX1000 effects processor (four units)and Roland SRV-2000 effects processor. A Yamaha PLS1 line selector sends this to a Chiddingford Mixer for his Shure SM600 transmitter to his ear monitor.
Anthony George Banks (born March 27, 1950, in East Hoathly, Sussex, England) is an English songwriter, pianist/keyboard player, and guitarist. He is one of the founding members of progressive rock/pop group Genesis, and he is one of only two members ・the other being guitarist/bassist Mike Rutherford ・to belong to Genesis throughout its entire history.
Banks had classical training in piano, and taught himself to play guitar. He attended Charterhouse School in the mid-1960s, where he met fellow student Peter Gabriel in 1965. Together with drummer Chris Stewart they formed a band called The Garden Wall. This band merged with another called Anon, which included Rutherford and Anthony Phillips. They recorded a set of demos which ultimately led to the formation of the band that became Genesis.
Banks's elaborate keyboard solos ・such as the piano intro to "Firth of Fifth" and the instrumental section of "The Cinema Show" ・helped to establish Genesis's sound. In addition to playing keyboards, Banks contributed to Genesis's 12-string acoustic passages ・in songs such as "The Musical Box" and the intro to "Supper's Ready" ・together with Steve Hackett and Mike Rutherford. Banks was also an occasional back-up vocalist and sang lead on 1970's unreleased "The Shepherd" (a duet with Peter Gabriel) which finally surfaced on the Genesis Archive 1967-75 boxed set.
Notable Banks-penned songs from the band's repertoire include "Mad Man Moon," "One for the Vine," and the anthemic ballad "Afterglow," which remained a popular exeunt to the Banks-driven "medleys" (conglomerations of Genesis's most popular keyboard solos)that the group played during live shows for years.
Equipment used by Tony Banks over the years:
From Genesis to Revelation - 1969Acoustic Piano
Trespass - 1970
Acoustic Piano Hammond L-122 tonewheel organ Hohner Pianet N Mellotron Mk II - hired from King Crimson
Nursery Cryme - 1971
Acoustic Piano [used on album only] Hammond L-122 tonewheel organ Hohner Pianet N Mellotron Mk II - hired from King Crimson
Foxtrot - 1972
Acoustic Piano [used on album only] Hammond L-122 tonewheel organ Hohner Pianet N Mellotron Mk II - hired from King Crimson
Selling England By The Pound - 1973
Acoustic Piano [used on album only] - notably Firth of Fifth Hammond T-102 tonewheel organ Hohner Pianet N Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets. The flute set is used on The Battle of Epping Forrest ARP Pro-Soloist analogue synthesiszer
The Lamb Lies Down On Broadway - 1974
Acoustic Piano [used on album only] - Steinway - used on intro to The Lamb Lies Down On Broadway and elsewhere Hammond T-102 tonewheel organ RMI Electra 368 Electric piano Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets ARP Pro-Soloist analogue synthesiszer ELKA RHAPSODY analogue synthesizer
A Trick of the Tail - 1976
Acoustic Piano [used on album only] Hammond T-102 tonewheel organ -> Leslie Rotating Speaker RMI Electra 368 Electric piano -> Fender Blender fuzz effect and MXR Phase 100 phaser Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets-> Echoplex tape echo and MXR 10band EQ ARP Pro-Soloist analogue synthesiszer -> Echoplex tape echo andLeslie Rotating Speaker ARP 2600 analogue synthesiszer -> Echoplex tape echo - [studio only} Roland RS202 string synth
Wind and Wuthering - 1976
Acoustic Piano [used on album only] Hammond T-102 tonewheel organ -> MXR Phase 100 phaser and BOSS CE-1 stereo chorus RMI Electra 368 Electric piano -> Fender Blender fuzz effect and MXR Phase 100 phaser Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets-> Roland RE-201 space echo and MXR 10 band graphic EQ ARP Pro-Soloist analogue synthesiszer -> Roland Space echo ARP 2600 analogue synthesiszer -> Roland RE-201 Space echo - [used on album only} Roland RS-202 string synthesizer - [used on album only] Fender Rhodes electric piano - [used on album only]
And Then There Were Three - 1978
Acoustic Piano [studio only] Hammond T-102 tonewheel organ -> MXR Phase 100 phaser and BOSS CE-1 stereo chorus Yamaha CP70 Electric Grand piano -> BOSS CE-10 stereo chorus Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets-> Roland RE-201 space echo and MXR 10 band graphic EQ ARP Pro-Soloist analogue synthesiszer -> Roland Space echo ARP 2600 analogue synthesiszer -> Roland RE-201 Space echo - Roland RS-202 string synthesizer - [used on album only] Moog Polymoog polyphonic analogue synthesizer -> MXR Distortion+ and Phase 100
Duke - 1980
Acoustic grand piano (studio only) Yamaha CP70 (through boss ce1 chorus) Yamaha CS80 (through boss chorus)(studio only) Sequential Circuits Prophet 5 (through boss ce1 chorus and mxr phase 100) Arp Quadra (trough MXR Distortion) Moog Polymoog (studio only) Roland VP330 (trough MXR 10 band EQ and Boss chorus) Hammond T102 organ trough MXR phase 100 phaser and Boss CE1 chorus)
The CS80 was used a lot on the album aswell as t he CP70 piano. Tony used the Prophet 5 and Quadra on just a few occasions on the album. But the Quadra especially was used a lot as a polysynth and lead synth on the duke tour. The Prophet 5 was used more for string like sounds aswell as the flutes on dukes travles (last bars before dukes end kicks in) and cul-de-sac.
Abacab - 1981
Acoustic piano (studio only) Yamaha CP70 (through Boss CE1 chorus) Moog Polymoog (studio only) Yamaha CS80 (studio only) (through Boss CE1 chorus and mxr distortion) Arp Quadra (through mxr distortion and lexicon digital delays) Sequential Circuits Prophet 10 (through mxr distortion, mxr phase 100 and boss ce1 chorus) Roland VP330+ vocoder (through MXR 10band EQ) NED Synclavier 2 (studio only on just a couple of things. Banks had a lot of problems with the Synclavier at that time and he even regretted buying it) Rumours go that the EDP Wasp was used. Though I never could spot it on the album and there is no evidence that it was used at all... Tony didn't talk about it in interviews, nor did he mention it in tourbooks or liner notes. I wonder if he really had it...
Genesis - 1983
Yamaha CP-70 electric grand piano -> BOSS CE-1 Stereo Chorus ARP Quadra polyphonic analogue synthesizer Sequential Circuits Prophet-10 polyphonic analogue synthesizer - MXR Phase 100 and BOSS CE-10 stereo chorus NED Synclavier II digital synthesizer -(FM and Additive, no sampling option) E-mu Emulator early digital sampler Roland VP-330 Vocoderand string/choir [studio only] Some equipment put through MXR and Lexicon digital delays
Invisible Touch - 1986
Yamaha CP-70 electric grand piano (with Kenton MIDI retrofit) ARP Quadra synthesizer/string machine Sequential Circuits Prophet-10 synthesizer (with Kenton MIDI retrofit) NED Synclavier II digital synthesizer -( FM and Additive, no sampling option) E-mu Emulator II digital sampler (with analog SSM filter and VCAs) Yamaha DX7 digital FM synthesizer AKAI S900 12-bit Digital Rack sampler Roland MKS-80 analogue rack synthesizer Yamaha TX816 digital FM rack synthesizer - 8 DX7s in a rack Korg DVP voice processor - vocoder Equipment put through Yamaha REV7 digital reverb and Lexicon digital delays
We Can't Dance - 1991
Korg Wavestation digital vector synthesizer Roland JD-800 digital synthesizer Roland Rhodes MK-80 digital piano / mother keyboard Roland Rhodes VK-1000 digital organ / electric piano Ensoniq VFX digital synthesizer Yamaha CP-80 electric grand piano- (88 key version of CP-70 E-mu Emulator III digital 16 bit sampler Equipment put through Yamaha SPX1000 and SPX90 effects plus Roland reverb unit
The Way We Walk (We Can't Dance Tour) - 1991 - 1992
Korg Wavestation digital vector synthesizer Roland JD-800 digital synthesizer Roland Rhodes MK-80 mother keyboard Ensoniq SD1 digital synthesiser - More reliable sibling of VFX Sequenced by Alesis MMT-8 Tony used these synths to also control his 2x 20HE rack units with the following stuff in it:
E-mu Emulator III digital 16 bit sampler in rack form Kurzweil 1000PX digital piano module E-mu Proteus/2 XR sample playback modules (four units with Tony's own samples, one with Proteus presets) Voce DMI-64 MkII digital organ module (two units) Yamaha TX7 synth module - DX7 in a rack All of the above are mixed into 2 Roland M480 mixers and put through Yamaha SPX90 effects and a Roland SDE3000 reverb unit. All midi routings done by 2 MidiTemp MMP88 patchbays. Audio routings from the mixer through the effect units done with the Yamaha PLS1 line switcher which is also used to extract the JD800 audio and send it to the main PA desk.
Also used was a Midi Gate unit (brand unknown) which is used for the song Mama which they performed 5 times in the USA leg of the WCD tour.
Calling All Stations - 1997
Korg Trinity digital workstation synthesizer Korg Wavestation digital vector synthesizer Roland JD-800 digital synthesizer Roland JV-1080 digital rack synthesizer Yamaha CP-80 electric grand piano
Calling All Stations Tour - 1997 - 1998
Korg Trinity Plus digital workstation synthesizer Roland A-90 MIDI mother keyboard Roland JD-800 digital synthesizer These are then linked into 2 Opcode Studio 5 LX MIDI processor and 2 Custom-made MIDI mixers and used to control these rack units:
Two E-mu Emulator 4 digital 16bit rack samplers Two Korg Wavestation SR digital rack vector synthesizer Korg Wavestation A/D digital rack vector synthesizer and vocoder Korg 01R/W digital rack synthesizer Roland JV-1080 digital synthesizer 3 E-mu Proteus/2 XR digital sample playback modules E-mu Proteus/2 XR Orchestral digital sample playback module E-mu Proteus/1 digital sample playback module2 E-mu Vintage Keys digital sample playback module Yamaha TX7 synth module - DX7 in rack All of the above are mixed into a Mackie LM3204 line mixer then put through Yamaha SPX1000 effects processor (four units)and Roland SRV-2000 effects processor. A Yamaha PLS1 line selector sends this to a Chiddingford Mixer for his Shure SM600 transmitter to his ear monitor.
Phil Collins
Phil Collins
Philip David Charles Collins (born January 30, 1951 in Chiswick, London) is an English rock and pop musician. He is best known as the lead singer and drummer of progressive rock group Genesis and as a Grammy and Academy Award-winning solo artist.
In total, Collins sang the lead vocals on eight American chart-toppers between 1984 and 1989; seven as a solo artist and one with Genesis. His singles, often dealing with lost love, ranged from the drum-heavy "In the Air Tonight", to the dance pop of "Sussudio", to the political statements of his most successful song, "Another Day in Paradise". His international popularity transformed Genesis from a progressive rock group to a regular on the pop charts and an early MTV mainstay.
Collins received a toy drum kit for Christmas when he was five. Later, his uncle made him a makeshift one that he used regularly, and his drumming skills improved. As Collins grew they were followed by more complete sets bought by his parents.He practiced by playing alongside the television and radio, and never learned to read and write conventional musical notation; instead, he uses a system he devised himself.
In 1970, Collins answered a Melody Maker classified ad for "...a drummer sensitive to acoustic music, and acoustic twelve-string guitarist".[8] Genesis placed the ad after having already lost three drummers over two albums.The audition occurred at the home of Peter Gabriel's parents. Prospective candidates performed tracks from the group's second album, Trespass (1970). Collins arrived early, listened to the other auditions and memorised the pieces before his turn.
Collins won the audition, and a year later, Nursery Cryme (1971) was released. Although his role would remain drummer and occasional backing vocalist for the next five years, he twice sang lead vocals on "For Absent Friends" (from Nursery Cryme) and "More Fool Me" (from Selling England by the Pound) (1973).
In 1974, while recording the album The Lamb Lies Down on Broadway, Brian Eno who did the Enossification on Peter's voice was in need of a drummer for his album Another Green World and Phil was sent to play drums as payment for his doings with the band.
In 1975, following the final tour supporting the concept album The Lamb Lies Down on Broadway, Gabriel left the group to pursue solo projects. Collins became lead vocalist after an unfruitful search for Gabriel's replacement. The group recruited former Yes and King Crimson drummer Bill Bruford and later Chester Thompson to play drums during live shows, although Collins continued to play during longer instrumental sections. The first album with Collins as lead vocalist, 1976's A Trick of the Tail, reached the American Top 40, and climbed as high as #3 on the UK charts. Said Rolling Stone, "Genesis has managed to turn the possible catastrophe of Gabriel's departure into their first broad-based American success.
An early theme in Collins' music, although never specifically mentioned in his albums, involved his then recent divorce. Two songs he wrote on the Genesis album Duke (1980), "Please Don't Ask" and "Misunderstanding", dealt with failed relationships. With the recording of his first solo album, Face Value (1981), Collins attributed his divorce as his main influence.
Philip David Charles Collins (born January 30, 1951 in Chiswick, London) is an English rock and pop musician. He is best known as the lead singer and drummer of progressive rock group Genesis and as a Grammy and Academy Award-winning solo artist.
In total, Collins sang the lead vocals on eight American chart-toppers between 1984 and 1989; seven as a solo artist and one with Genesis. His singles, often dealing with lost love, ranged from the drum-heavy "In the Air Tonight", to the dance pop of "Sussudio", to the political statements of his most successful song, "Another Day in Paradise". His international popularity transformed Genesis from a progressive rock group to a regular on the pop charts and an early MTV mainstay.
Collins received a toy drum kit for Christmas when he was five. Later, his uncle made him a makeshift one that he used regularly, and his drumming skills improved. As Collins grew they were followed by more complete sets bought by his parents.He practiced by playing alongside the television and radio, and never learned to read and write conventional musical notation; instead, he uses a system he devised himself.
In 1970, Collins answered a Melody Maker classified ad for "...a drummer sensitive to acoustic music, and acoustic twelve-string guitarist".[8] Genesis placed the ad after having already lost three drummers over two albums.The audition occurred at the home of Peter Gabriel's parents. Prospective candidates performed tracks from the group's second album, Trespass (1970). Collins arrived early, listened to the other auditions and memorised the pieces before his turn.
Collins won the audition, and a year later, Nursery Cryme (1971) was released. Although his role would remain drummer and occasional backing vocalist for the next five years, he twice sang lead vocals on "For Absent Friends" (from Nursery Cryme) and "More Fool Me" (from Selling England by the Pound) (1973).
In 1974, while recording the album The Lamb Lies Down on Broadway, Brian Eno who did the Enossification on Peter's voice was in need of a drummer for his album Another Green World and Phil was sent to play drums as payment for his doings with the band.
In 1975, following the final tour supporting the concept album The Lamb Lies Down on Broadway, Gabriel left the group to pursue solo projects. Collins became lead vocalist after an unfruitful search for Gabriel's replacement. The group recruited former Yes and King Crimson drummer Bill Bruford and later Chester Thompson to play drums during live shows, although Collins continued to play during longer instrumental sections. The first album with Collins as lead vocalist, 1976's A Trick of the Tail, reached the American Top 40, and climbed as high as #3 on the UK charts. Said Rolling Stone, "Genesis has managed to turn the possible catastrophe of Gabriel's departure into their first broad-based American success.
An early theme in Collins' music, although never specifically mentioned in his albums, involved his then recent divorce. Two songs he wrote on the Genesis album Duke (1980), "Please Don't Ask" and "Misunderstanding", dealt with failed relationships. With the recording of his first solo album, Face Value (1981), Collins attributed his divorce as his main influence.
Neil Young
Neil Young
Neil Percival Young OM (born November 12, 1945, Toronto, Ontario) is a Canadian singer-songwriter and guitarist who grew up in Winnipeg, Manitoba. His work is characterized by deeply personal lyrics, distinctive guitar work, and an almost instantly recognizable nasal tenor (and frequently alto) singing voice. Although he accompanies himself on several different instruments 擁ncluding piano and harmonica揺is style of hammer-on acoustic guitar and often idiosyncratic soloing on electric guitar are the lynchpins of a sometimes ragged, sometimes polished, yet consistently evocative sound.
Young has experimented widely with differing music styles, including swing, jazz, rockabilly, blues and electronica throughout a varied career, his most accessible and best known work generally falls into either of two distinct styles: acoustic, country-tinged folk rock, as heard in songs such as "Heart of Gold", "Harvest Moon" and "Old Man," and crunchy, electric hard rock, in songs like "Cinnamon Girl", "Rockin' in the Free World" and "Hey Hey, My My (Into The Black)."
Young first came to prominence as a member of the folk-rock band Buffalo Springfield in the mid-1960s and then as a solo performer backed by the band Crazy Horse. He reached his commercial peak during the singer-songwriter boom of the early 1970s with the albums After the Gold Rush and Harvest as well as with Crosby, Stills, Nash & Young.
Young was born in Toronto to sportswriter and novelist Scott Young and Rassy Ragland Young. He spent his early years in Omemee, a small country town which he later memorialized in his song "Helpless". A bout of polio at the age of six left him with a weakened left side, and he still walks with a slight limp. He moved to New Smyrna Beach, Florida to recover for a year; his mother later moved there permanently. His parents divorced when Young was twelve, and he moved with his mother back to the family home of Winnipeg, Manitoba, where his music career began. While attending Kelvin High School in Winnipeg, he played in instrumental rock bands, one of which, the Squires, had a local hit called "The Sultan." He later worked folk clubs in Winnipeg, where he befriended guitarist Stephen Stills and Joni Mitchell, and spent summers in Thunder Bay, Ontario, playing at local clubs. In the 2006 film Heart of Gold Young relates how he used to spend time as a teenager at Falcon Lake, Manitoba where he would endlessly plug coins into the jukebox to hear Ian Tyson's "Four Strong Winds."
After the breakup of Buffalo Springfield, Young signed a solo deal with Reprise Records, home of his compatriot, Joni Mitchell, with whom he shared a manager, Elliot Roberts. Young and Nitzsche immediately began work on Young's first solo record, Neil Young (November 1968), which received mixed reviews. In a 1970 interview [1], Young deprecated the album as being "overdubbed rather than played," and the quest for music that expresses the spontaneity of the moment has long been a feature of his career. Nevertheless, the album contains some tunes that remain a staple of his live shows, most notably "The Loner."
For his next album, Young recruited three musicians from a band called Danny and The Rockets: Danny Whitten on guitar, Billy Talbot on bass guitar, and Ralph Molina on drums. These three took the name Crazy Horse (after the historical figure of the same name), and Everybody Knows This Is Nowhere (May 1969), is credited to "Neil Young with Crazy Horse." Recorded in just two weeks, the album opens with one of Young's most familiar songs, "Cinnamon Girl," and is dominated by two more, "Cowgirl in the Sand" and "Down by the River," that feature lengthy jams showcasing Young's idiosyncratic guitar soloing accompanied sympathetically by Crazy Horse .
Although a new tour had been planned to follow up on the success of Harvest, it became apparent during rehearsals that Danny Whitten could not function due to drug abuse. On November 18, 1972, shortly after he was fired from the tour preparations, Whitten was found dead of an overdose. Young described the incident to Rolling Stone痴 Cameron Crowe in 1975,[3] "[We] were rehearsing with him and he just couldn't cut it. He couldn't remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. 'It's not happening, man. You're not together enough.' He just said, 'I've got nowhere else to go, man. How am I gonna tell my friends?' And he split. That night the coroner called me from L.A. and told me he'd ODed. That blew my mind. Fucking blew my mind. I loved Danny. I felt responsible. And from there,
Neil Percival Young OM (born November 12, 1945, Toronto, Ontario) is a Canadian singer-songwriter and guitarist who grew up in Winnipeg, Manitoba. His work is characterized by deeply personal lyrics, distinctive guitar work, and an almost instantly recognizable nasal tenor (and frequently alto) singing voice. Although he accompanies himself on several different instruments 擁ncluding piano and harmonica揺is style of hammer-on acoustic guitar and often idiosyncratic soloing on electric guitar are the lynchpins of a sometimes ragged, sometimes polished, yet consistently evocative sound.
Young has experimented widely with differing music styles, including swing, jazz, rockabilly, blues and electronica throughout a varied career, his most accessible and best known work generally falls into either of two distinct styles: acoustic, country-tinged folk rock, as heard in songs such as "Heart of Gold", "Harvest Moon" and "Old Man," and crunchy, electric hard rock, in songs like "Cinnamon Girl", "Rockin' in the Free World" and "Hey Hey, My My (Into The Black)."
Young first came to prominence as a member of the folk-rock band Buffalo Springfield in the mid-1960s and then as a solo performer backed by the band Crazy Horse. He reached his commercial peak during the singer-songwriter boom of the early 1970s with the albums After the Gold Rush and Harvest as well as with Crosby, Stills, Nash & Young.
Young was born in Toronto to sportswriter and novelist Scott Young and Rassy Ragland Young. He spent his early years in Omemee, a small country town which he later memorialized in his song "Helpless". A bout of polio at the age of six left him with a weakened left side, and he still walks with a slight limp. He moved to New Smyrna Beach, Florida to recover for a year; his mother later moved there permanently. His parents divorced when Young was twelve, and he moved with his mother back to the family home of Winnipeg, Manitoba, where his music career began. While attending Kelvin High School in Winnipeg, he played in instrumental rock bands, one of which, the Squires, had a local hit called "The Sultan." He later worked folk clubs in Winnipeg, where he befriended guitarist Stephen Stills and Joni Mitchell, and spent summers in Thunder Bay, Ontario, playing at local clubs. In the 2006 film Heart of Gold Young relates how he used to spend time as a teenager at Falcon Lake, Manitoba where he would endlessly plug coins into the jukebox to hear Ian Tyson's "Four Strong Winds."
After the breakup of Buffalo Springfield, Young signed a solo deal with Reprise Records, home of his compatriot, Joni Mitchell, with whom he shared a manager, Elliot Roberts. Young and Nitzsche immediately began work on Young's first solo record, Neil Young (November 1968), which received mixed reviews. In a 1970 interview [1], Young deprecated the album as being "overdubbed rather than played," and the quest for music that expresses the spontaneity of the moment has long been a feature of his career. Nevertheless, the album contains some tunes that remain a staple of his live shows, most notably "The Loner."
For his next album, Young recruited three musicians from a band called Danny and The Rockets: Danny Whitten on guitar, Billy Talbot on bass guitar, and Ralph Molina on drums. These three took the name Crazy Horse (after the historical figure of the same name), and Everybody Knows This Is Nowhere (May 1969), is credited to "Neil Young with Crazy Horse." Recorded in just two weeks, the album opens with one of Young's most familiar songs, "Cinnamon Girl," and is dominated by two more, "Cowgirl in the Sand" and "Down by the River," that feature lengthy jams showcasing Young's idiosyncratic guitar soloing accompanied sympathetically by Crazy Horse .
Although a new tour had been planned to follow up on the success of Harvest, it became apparent during rehearsals that Danny Whitten could not function due to drug abuse. On November 18, 1972, shortly after he was fired from the tour preparations, Whitten was found dead of an overdose. Young described the incident to Rolling Stone痴 Cameron Crowe in 1975,[3] "[We] were rehearsing with him and he just couldn't cut it. He couldn't remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. 'It's not happening, man. You're not together enough.' He just said, 'I've got nowhere else to go, man. How am I gonna tell my friends?' And he split. That night the coroner called me from L.A. and told me he'd ODed. That blew my mind. Fucking blew my mind. I loved Danny. I felt responsible. And from there,
Deep Purple
Deep Purple
Deep Purple are an English hard rock band formed in London, England in 1968 (see 1968 in music). Along with Led Zeppelin and Black Sabbath, they are considered to be one of the pioneer contributors to the Heavy metal and the hard rock genre, although they have never seen themselves as a heavy metal band. To date, the band has sold over 100 million albums
The band Episode Six released several singles in the UK during the mid-sixties. It featured Ian Gillan on vocals, Graham Dimmock on guitar, Roger Glover on bass, Tony Lander on guitar, Sheila Carter on keyboards, and Harvey Shields on the drums. Despite extensive touring, they never had their big break..
Shortly after the orchestral release, the band began a hectic touring and recording schedule that was to see little respite for the next three years. Their first studio album of this period, released in mid-1970, was In Rock and contained concert staples Speed King, Into The Fire and Child in Time. The band also issued the UK Top Ten single Black Night. Blackmore's and Lord's guitar-keyboard interplay coupled with Ian Gillan's howling vocals and the solid rhythm section of Glover and Paice, now started to become instantly recognizable. A second album, the slightly more mellow and progressive Fireball (a favourite of Gillan's but not of Blackmore's), was issued in the summer of 1971, creating a number of favourites (Fireball, Demon's Eye, Fools and No One Came). The band also scored another chart hit with Strange Kind Of Woman. Together with Led Zeppelin and Black Sabbath, Purple were laying the groundwork for what is now called heavy metal music, although at the time, the phrase was still wholly unknown.
In 1980, Rod Evans, along with a group of unknown musicians, toured under the banner of Deep Purple. As the only original member, and one little known to most fans, this band was instantly derided by press and fans as a fraud. The lineup performed concerts in Mexico and the USA before legal action was taken to deny them the use of the name. In retrospect, however tenuous the connection this band had to the name "Deep Purple", it at least kept the name alive and in the media, albeit briefly. More information on this "fake" Deep Purple is available here and here.
However, in April 1984, eight years after the demise of Deep Purple, a full-scale (and legal) reunion happened. It was announced on BBC radio's The Friday Rock Show that the "classic" early 70s line-up of Blackmore, Gillan, Glover, Lord, and Paice was reforming and recording new material. The band signed a deal with Polydor in Europe and Mercury in North America. The album Perfect Strangers was released in October 1984, creating a number of favourites (Knockin' At Your Back Door, Under The Gun, Gypsy's Kiss and of course Perfect Strangers). The reunion tour followed, starting in Australia and winding its way across the world into Europe by the following summer. It was a tremendous success. The UK homecoming proved limited, as they elected to play just a single festival show at Knebworth (with main support from the Scorpions). The weather was famously bad but 80,000 turned up anyway.
Deep Purple are an English hard rock band formed in London, England in 1968 (see 1968 in music). Along with Led Zeppelin and Black Sabbath, they are considered to be one of the pioneer contributors to the Heavy metal and the hard rock genre, although they have never seen themselves as a heavy metal band. To date, the band has sold over 100 million albums
The band Episode Six released several singles in the UK during the mid-sixties. It featured Ian Gillan on vocals, Graham Dimmock on guitar, Roger Glover on bass, Tony Lander on guitar, Sheila Carter on keyboards, and Harvey Shields on the drums. Despite extensive touring, they never had their big break..
Shortly after the orchestral release, the band began a hectic touring and recording schedule that was to see little respite for the next three years. Their first studio album of this period, released in mid-1970, was In Rock and contained concert staples Speed King, Into The Fire and Child in Time. The band also issued the UK Top Ten single Black Night. Blackmore's and Lord's guitar-keyboard interplay coupled with Ian Gillan's howling vocals and the solid rhythm section of Glover and Paice, now started to become instantly recognizable. A second album, the slightly more mellow and progressive Fireball (a favourite of Gillan's but not of Blackmore's), was issued in the summer of 1971, creating a number of favourites (Fireball, Demon's Eye, Fools and No One Came). The band also scored another chart hit with Strange Kind Of Woman. Together with Led Zeppelin and Black Sabbath, Purple were laying the groundwork for what is now called heavy metal music, although at the time, the phrase was still wholly unknown.
In 1980, Rod Evans, along with a group of unknown musicians, toured under the banner of Deep Purple. As the only original member, and one little known to most fans, this band was instantly derided by press and fans as a fraud. The lineup performed concerts in Mexico and the USA before legal action was taken to deny them the use of the name. In retrospect, however tenuous the connection this band had to the name "Deep Purple", it at least kept the name alive and in the media, albeit briefly. More information on this "fake" Deep Purple is available here and here.
However, in April 1984, eight years after the demise of Deep Purple, a full-scale (and legal) reunion happened. It was announced on BBC radio's The Friday Rock Show that the "classic" early 70s line-up of Blackmore, Gillan, Glover, Lord, and Paice was reforming and recording new material. The band signed a deal with Polydor in Europe and Mercury in North America. The album Perfect Strangers was released in October 1984, creating a number of favourites (Knockin' At Your Back Door, Under The Gun, Gypsy's Kiss and of course Perfect Strangers). The reunion tour followed, starting in Australia and winding its way across the world into Europe by the following summer. It was a tremendous success. The UK homecoming proved limited, as they elected to play just a single festival show at Knebworth (with main support from the Scorpions). The weather was famously bad but 80,000 turned up anyway.
Linkin Park
Linkin Park
In 1996, MC Mike Shinoda and guitarist Brad Delson graduated from Agoura High School in the Los Angeles suburb of Agoura Hills, California. Upon graduation, the two men formed a side band with their friend, drummer Rob Bourdon, under the moniker "SuperXero". Previously, Delson and Bourdon were in a band together for about a year called Relative Degree. Delson had also been part of a band called The Pricks.
The three members of SuperXero played archaic forms of their music together while at college. Delson attended the University of California, Los Angeles. Shinoda went to the Art Center College of Design in Pasadena, California. While at UCLA, Delson met bassist Dave Farrell. Delson and Farrell were roommates and often practiced and played together. Previously, Farrell used to play in a band called Tasty Snax with Mark Fiore, who later changed their name to "The Snax". Fiore later became Linkin Park's cinematographer. While at the Art Center College of Design, Shinoda met Joe Hahn. Farrell and Hahn later joined SuperXero, and the name was shortened to "Xero". The five men were later joined by lead vocalist Mark Wakefield and, together, they recorded their first, self-titled demo tape. The tape was sent out to various record labels but it was never considered and the band was never signed. Shortly thereafter, Wakefield left the band.
After Wakefield left, Shinoda began auditioning for a new vocalist and at the same time Delson began interning for a Warner Brothers Records A&R representative named Jeff Blue as part of his communications degree. Blue alerted Delson and Shinoda to Chester Bennington, a young vocalist from Phoenix, Arizona who was looking to join another band, after being the vocalist for Grey Daze (formerly known as Sean Dowdell and His Friends) from 1993 to 1997.
Shinoda and Delson sent Bennington a tape containing an instrumental song and he recorded vocals for it. He then called Shinoda and played the song over the phone. This was the start of things to come as the band was instantly impressed by the vocal abilities of Bennington and it did not take long to realize the advantages of his voice and his ability to mould it to be both soft and thought-provoking as well as hard and attention-grabbing.
Once Bennington had joined the group, they attempted to have the band signed. Unfortunately, the name was already taken by a 70s and 80s band from Australia so they changed their moniker to Hybrid Theory and the band's line-up solidified ・almost. Farrell temporarily left the band due to previous commitments with The Snax/Tasty Snax and, as such, wasn't able to record bass for their first, self-titled EP. Instead, Delson and a bassist named Kyle Christner played bass. Released in mid-1999, only one thousand copies of the EP were pressed. Several copies were sent to various record labels, including Warner Brothers Records. The rest of the copies were given to early members of the band's newly formed street team. Farrell was temporarily replaced by Scott Koziol. Scott appears in the video for "One Step Closer" from the Hybrid Theory album.
The band was subsequently signed to Warner Brothers in 1999 thanks to Blue. However, they were forced to change their name again due to another copyright issue with a British electronic group called Hybrid.[citation needed] There were several suggestions for the band's new name, including Clear, Probing Lagers, Ten P.M. Stocker (an inside joke for the band since they were always recording and practicing material late at night) and Platinum Lotus Foundation.
In 1996, MC Mike Shinoda and guitarist Brad Delson graduated from Agoura High School in the Los Angeles suburb of Agoura Hills, California. Upon graduation, the two men formed a side band with their friend, drummer Rob Bourdon, under the moniker "SuperXero". Previously, Delson and Bourdon were in a band together for about a year called Relative Degree. Delson had also been part of a band called The Pricks.
The three members of SuperXero played archaic forms of their music together while at college. Delson attended the University of California, Los Angeles. Shinoda went to the Art Center College of Design in Pasadena, California. While at UCLA, Delson met bassist Dave Farrell. Delson and Farrell were roommates and often practiced and played together. Previously, Farrell used to play in a band called Tasty Snax with Mark Fiore, who later changed their name to "The Snax". Fiore later became Linkin Park's cinematographer. While at the Art Center College of Design, Shinoda met Joe Hahn. Farrell and Hahn later joined SuperXero, and the name was shortened to "Xero". The five men were later joined by lead vocalist Mark Wakefield and, together, they recorded their first, self-titled demo tape. The tape was sent out to various record labels but it was never considered and the band was never signed. Shortly thereafter, Wakefield left the band.
After Wakefield left, Shinoda began auditioning for a new vocalist and at the same time Delson began interning for a Warner Brothers Records A&R representative named Jeff Blue as part of his communications degree. Blue alerted Delson and Shinoda to Chester Bennington, a young vocalist from Phoenix, Arizona who was looking to join another band, after being the vocalist for Grey Daze (formerly known as Sean Dowdell and His Friends) from 1993 to 1997.
Shinoda and Delson sent Bennington a tape containing an instrumental song and he recorded vocals for it. He then called Shinoda and played the song over the phone. This was the start of things to come as the band was instantly impressed by the vocal abilities of Bennington and it did not take long to realize the advantages of his voice and his ability to mould it to be both soft and thought-provoking as well as hard and attention-grabbing.
Once Bennington had joined the group, they attempted to have the band signed. Unfortunately, the name was already taken by a 70s and 80s band from Australia so they changed their moniker to Hybrid Theory and the band's line-up solidified ・almost. Farrell temporarily left the band due to previous commitments with The Snax/Tasty Snax and, as such, wasn't able to record bass for their first, self-titled EP. Instead, Delson and a bassist named Kyle Christner played bass. Released in mid-1999, only one thousand copies of the EP were pressed. Several copies were sent to various record labels, including Warner Brothers Records. The rest of the copies were given to early members of the band's newly formed street team. Farrell was temporarily replaced by Scott Koziol. Scott appears in the video for "One Step Closer" from the Hybrid Theory album.
The band was subsequently signed to Warner Brothers in 1999 thanks to Blue. However, they were forced to change their name again due to another copyright issue with a British electronic group called Hybrid.[citation needed] There were several suggestions for the band's new name, including Clear, Probing Lagers, Ten P.M. Stocker (an inside joke for the band since they were always recording and practicing material late at night) and Platinum Lotus Foundation.
Ian Gillan
Ian Gillan
Ian Gillan (born on 19 August 1945; Hounslow, London), is an English rock music vocalist known as the lead singer for legendary rock band Deep Purple, and for his year-long stint in Black Sabbath. He also sang the role of Jesus Christ in the original recording of Andrew Lloyd Webber's rock opera Jesus Christ Superstar. Gillan is considered to be one of the foremost rock vocalists, who introduced into rock music the vocal belting technique. In his prime he possessed a very wide vocal range, extending from the E2 to the soprano high C, or C6, with seemingly effortless and fluid movement throughout and with remarkable force and precision in the upper register. His work with Deep Purple is particularly recognisable for its occasional high-pitched screams and wails.
Gillan was a member of Deep Purple from 1969 through 1973, appearing on such now-classic Deep Purple albums as Fireball and Machine Head. During these years, he also portrayed Jesus Christ in the original version of Andrew Lloyd Webber's and Tim Rice's Jesus Christ Superstar.
After leaving Deep Purple, Gillan retired from performing to pursue business ventures. These were all failures, and encouraged by his reception at the Butterfly Ball in 1975 he decided to resume his singing career. He formed the Ian Gillan Band. The early band sound had a distinct jazz-rock aspect which proved unpopular and was replaced by a more high powered hard rock sound as Gillan reformed the lineup and shortened the group's name to Gillan. With the release of Mr. Universe Ian Gillan was back in the UK charts and through several more lineup changes released a string of hit singles and successful albums including Glory Road, Future Shock, Double Trouble, and finally Magic.
Then he announced the band would fold as he needed to rest his damaged vocal cords. In 1983 he joined Black Sabbath to record the Born Again album before rejoining a reunited Deep Purple shortly after completing the Born Again tour in early 1984. He left Purple again in 1989, rejoining in 1992. He remains in the band up to present day.
Ian Gillan (born on 19 August 1945; Hounslow, London), is an English rock music vocalist known as the lead singer for legendary rock band Deep Purple, and for his year-long stint in Black Sabbath. He also sang the role of Jesus Christ in the original recording of Andrew Lloyd Webber's rock opera Jesus Christ Superstar. Gillan is considered to be one of the foremost rock vocalists, who introduced into rock music the vocal belting technique. In his prime he possessed a very wide vocal range, extending from the E2 to the soprano high C, or C6, with seemingly effortless and fluid movement throughout and with remarkable force and precision in the upper register. His work with Deep Purple is particularly recognisable for its occasional high-pitched screams and wails.
Gillan was a member of Deep Purple from 1969 through 1973, appearing on such now-classic Deep Purple albums as Fireball and Machine Head. During these years, he also portrayed Jesus Christ in the original version of Andrew Lloyd Webber's and Tim Rice's Jesus Christ Superstar.
After leaving Deep Purple, Gillan retired from performing to pursue business ventures. These were all failures, and encouraged by his reception at the Butterfly Ball in 1975 he decided to resume his singing career. He formed the Ian Gillan Band. The early band sound had a distinct jazz-rock aspect which proved unpopular and was replaced by a more high powered hard rock sound as Gillan reformed the lineup and shortened the group's name to Gillan. With the release of Mr. Universe Ian Gillan was back in the UK charts and through several more lineup changes released a string of hit singles and successful albums including Glory Road, Future Shock, Double Trouble, and finally Magic.
Then he announced the band would fold as he needed to rest his damaged vocal cords. In 1983 he joined Black Sabbath to record the Born Again album before rejoining a reunited Deep Purple shortly after completing the Born Again tour in early 1984. He left Purple again in 1989, rejoining in 1992. He remains in the band up to present day.
Stu Hamm
Stu Hamm
Stuart 'Stu' Hamm (born February 8, 1960) is an American bass player, known for his session and live work with numerous artists as well for his virtuosic playing style and solo recordings.
Born in New Orleans, Hamm spent his childhood and youth in Champaign, Illinois, where he studied bass and piano, played in the stage band at Champaign High School, and was selected to the Illinois All-State Band. Following high school in Norwich, Vermont, he attended the Berklee College of Music in Boston, where he met guitarist Steve Vai and, through him, met Joe Satriani. Hamm played bass on Vai's debut solo album, Flex-Able, which was released in 1984.
Hamm has performed and recorded with Steve Vai, Frank Gambale, Joe Satriani and many other well-respected guitarists.
Hamm's first solo album, Radio Free Albemuth, inspired by the Philip K. Dick novel of the same name, was released in 1988. On it, Hamm demonstrated his abilities on a number of original compositions spanning a variety of genres including fusion, country, and classical. On solo pieces like "Country Music (A night in Hell)," he demonstrates his ability to make the bass imitate the sounds of a wide range of instruments. The piece has since become a popular live piece. On the same album, he performs an arrangement of Beethoven's Moonlight Sonata.
Early in his career, Hamm was associated with Philip Kubicki's Factor basses. Later, Fender musical instruments produced two signature model electric basses designed and endorsed by Hamm: the "Urge Bass" and the "Urge II Bass."
Stuart 'Stu' Hamm (born February 8, 1960) is an American bass player, known for his session and live work with numerous artists as well for his virtuosic playing style and solo recordings.
Born in New Orleans, Hamm spent his childhood and youth in Champaign, Illinois, where he studied bass and piano, played in the stage band at Champaign High School, and was selected to the Illinois All-State Band. Following high school in Norwich, Vermont, he attended the Berklee College of Music in Boston, where he met guitarist Steve Vai and, through him, met Joe Satriani. Hamm played bass on Vai's debut solo album, Flex-Able, which was released in 1984.
Hamm has performed and recorded with Steve Vai, Frank Gambale, Joe Satriani and many other well-respected guitarists.
Hamm's first solo album, Radio Free Albemuth, inspired by the Philip K. Dick novel of the same name, was released in 1988. On it, Hamm demonstrated his abilities on a number of original compositions spanning a variety of genres including fusion, country, and classical. On solo pieces like "Country Music (A night in Hell)," he demonstrates his ability to make the bass imitate the sounds of a wide range of instruments. The piece has since become a popular live piece. On the same album, he performs an arrangement of Beethoven's Moonlight Sonata.
Early in his career, Hamm was associated with Philip Kubicki's Factor basses. Later, Fender musical instruments produced two signature model electric basses designed and endorsed by Hamm: the "Urge Bass" and the "Urge II Bass."
Joe Satriani
Joe Satriani
Joe "Satch" Satriani (born on July 15, 1956, in Westbury, New York, USA) is an American instrumental rock guitarist and teacher.
Joe Satriani was inspired to play guitar at age 14 after hearing that Jimi Hendrix had died. Satriani reportedly heard the news during a football training session where he immediately confronted his coach and announced that he was quitting to become a guitarist.
Satriani is also credited on many other albums, including guitar duties on Alice Cooper's Hey Stoopid (1991), Spinal Tap's Break Like the Wind (1992), Blue ﾖyster Cult's Imaginos (1988), band members Stu Hamm and Gregg Bissonette's solo albums, and many others including countless guitar heroes-style albums. Interestingly, he was credited for singing background vocals on the 1986 debut album by Crowded House. In 2003, he played lead guitar in The Yardbirds' CD release Birdland. In 2006 he guested on several tracks for Deep Purple's vocalist Ian Gillan's solo CD/DVD dual disc Gillan's Inn.
Satriani is widely recognized as a highly technically proficient rock guitarist. He has mastered many performance techniques on the instrument, including two-handed tapping, sweep picking, volume swells, harmonics, and extreme whammy bar effects. On Big Bad Moon, Satriani uses his harmonica as a slide. One of his trademark compositional traits is the use of Pitch Axis Theory which he applies with a variety of modes. Satriani approaches scales and soloing differently.
Instead of practicing his scales in positions he practices his scales one string at a time. He calls this technique 鼠inear scales・ He moves into positions on extremely technical passages. Satriani falls into the category of guitar virtuosos who primarily achieve speed through hammer-ons and pull-offs (like Randy Rhoads or Allan Holdsworth), as opposed to guitarists who include lines with very rapid alternate picking of every note in their playing (like Al Di Meola, Yngwie Malmsteen or Michael Angelo Batio).
Satriani (like Steve Vai, Yngwie Malmsteen and other guitarists who incorporate speed and technical precision in their playing) has been criticized by those who prefer simpler compositional styles.[citation needed] Some of his contemporaries have been known to take pot-shots at the earnest Satriani. For example, Gary Moore once said that he found Satriani's music "cerebral", saying, "it leaves me cold". Although his more flamboyant student, Steve Vai, has garnered more attention, most writers and musicians respect Satriani's musicianship as well as his modest and personable demeanor.
Satriani uses a variety of gear. Many of his guitars are made by Ibanez, including the JS1000, JS1200, and JS2000. These guitars typically feature the DiMarzio PAF Joe or PAF Pro in the neck pickup position and a DiMarzio Fred or Mo' Joe in the bridge. The JS line of guitars is his signature line, and they feature the Edge Pro, which is Ibanez's exclusive tremolo system. The mirrored silver guitar he used on the Live in San Francisco DVD is called Chrome Boy for obvious reasons.
Satriani's work frequently makes references to various science fiction stories and/or ideas. "Surfing With the Alien", "Back to Shalla-Bal" and "The Power Cosmic 2000" are references to the comic book Silver Surfer while "Ice 9" refers to the secret government ice weapon in Kurt Vonnegut's Cat's Cradle. "Borg Sex" is a reference to Star Trek, which features a homogenous race known as the Borg. Additionally, his albums and songs often have other-worldly titles, such as Not of this Earth, Is There Love in Space?, and Engines of Creation.
On the album Super Colossal the song titled "Crowd Chant" was originally called "Party On The Enterprise". "Party On The Enterprise" sampled sounds from the starship Enterprise from the Star Trek TV show. But, as Satriani explained in a podcast,legal issues couldn't get resolved and he wasn't able to get permission to use the samples. Satriani then removed the sounds from the song and called it "Crowd Chant."
Joe "Satch" Satriani (born on July 15, 1956, in Westbury, New York, USA) is an American instrumental rock guitarist and teacher.
Joe Satriani was inspired to play guitar at age 14 after hearing that Jimi Hendrix had died. Satriani reportedly heard the news during a football training session where he immediately confronted his coach and announced that he was quitting to become a guitarist.
Satriani is also credited on many other albums, including guitar duties on Alice Cooper's Hey Stoopid (1991), Spinal Tap's Break Like the Wind (1992), Blue ﾖyster Cult's Imaginos (1988), band members Stu Hamm and Gregg Bissonette's solo albums, and many others including countless guitar heroes-style albums. Interestingly, he was credited for singing background vocals on the 1986 debut album by Crowded House. In 2003, he played lead guitar in The Yardbirds' CD release Birdland. In 2006 he guested on several tracks for Deep Purple's vocalist Ian Gillan's solo CD/DVD dual disc Gillan's Inn.
Satriani is widely recognized as a highly technically proficient rock guitarist. He has mastered many performance techniques on the instrument, including two-handed tapping, sweep picking, volume swells, harmonics, and extreme whammy bar effects. On Big Bad Moon, Satriani uses his harmonica as a slide. One of his trademark compositional traits is the use of Pitch Axis Theory which he applies with a variety of modes. Satriani approaches scales and soloing differently.
Instead of practicing his scales in positions he practices his scales one string at a time. He calls this technique 鼠inear scales・ He moves into positions on extremely technical passages. Satriani falls into the category of guitar virtuosos who primarily achieve speed through hammer-ons and pull-offs (like Randy Rhoads or Allan Holdsworth), as opposed to guitarists who include lines with very rapid alternate picking of every note in their playing (like Al Di Meola, Yngwie Malmsteen or Michael Angelo Batio).
Satriani (like Steve Vai, Yngwie Malmsteen and other guitarists who incorporate speed and technical precision in their playing) has been criticized by those who prefer simpler compositional styles.[citation needed] Some of his contemporaries have been known to take pot-shots at the earnest Satriani. For example, Gary Moore once said that he found Satriani's music "cerebral", saying, "it leaves me cold". Although his more flamboyant student, Steve Vai, has garnered more attention, most writers and musicians respect Satriani's musicianship as well as his modest and personable demeanor.
Satriani uses a variety of gear. Many of his guitars are made by Ibanez, including the JS1000, JS1200, and JS2000. These guitars typically feature the DiMarzio PAF Joe or PAF Pro in the neck pickup position and a DiMarzio Fred or Mo' Joe in the bridge. The JS line of guitars is his signature line, and they feature the Edge Pro, which is Ibanez's exclusive tremolo system. The mirrored silver guitar he used on the Live in San Francisco DVD is called Chrome Boy for obvious reasons.
Satriani's work frequently makes references to various science fiction stories and/or ideas. "Surfing With the Alien", "Back to Shalla-Bal" and "The Power Cosmic 2000" are references to the comic book Silver Surfer while "Ice 9" refers to the secret government ice weapon in Kurt Vonnegut's Cat's Cradle. "Borg Sex" is a reference to Star Trek, which features a homogenous race known as the Borg. Additionally, his albums and songs often have other-worldly titles, such as Not of this Earth, Is There Love in Space?, and Engines of Creation.
On the album Super Colossal the song titled "Crowd Chant" was originally called "Party On The Enterprise". "Party On The Enterprise" sampled sounds from the starship Enterprise from the Star Trek TV show. But, as Satriani explained in a podcast,legal issues couldn't get resolved and he wasn't able to get permission to use the samples. Satriani then removed the sounds from the song and called it "Crowd Chant."
Yngwie Malmsteen
Yngwie Malmsteen
Yngwie Johann Malmsteen (born Lars Johann Yngve Lannerb臘k Malmsteen, June 30, 1963) is a Swedish guitarist, composer and bandleader.Malmsteen achieved widespread acclaim in the 1980s due to his technical proficiency and his pioneering of the neo-classical metal genre.
Born into a musical family in Stockholm, Malmsteen was the youngest child in the family. In September 18, 1970, at age seven, he saw a TV special on the death of Jimi Hendrix that made him obsessed with the guitar. To quote his official website, "The day Jimi Hendrix died, the guitar-playing Yngwie was born".
He claims that Yngwie (pronounced "ING-VAY") means "young Viking chief" in Swedish. Technically it is a variation of Yngvi, who founded the House of Yngling, which is the oldest known Swedish dynasty.
Malmsteen was in his teens when he first encountered the music of the 19th-century violin virtuoso Niccol・Paganini, whom he cites as his biggest classical influence. It has been rumoured that Yngwie believes himself to be the reincarnation of the temperamental, often criticized, and widely misunderstood violinist from Genoa.[citation needed] Through his emulation of Paganini concerto pieces on guitar, Malmsteen developed a prodigious technical fluency. Malmsteen also cites Jimi Hendrix, Brian May of Queen, Steve Hackett of Genesis, Uli Jon Roth, and Ritchie Blackmore of Deep Purple as influences.
Malmsteen's guitar style include a wide, violin-like vibrato inspired by classical violinists, and use of such minor scales as the Harmonic minor, and minor modes such as Phrygian, and Aeolian. Malmsteen cites the Fender Stratocaster and the single coil pickups (of which he uses his custom design by DiMarzio, a vertically-stacked humbucker mounted in a single coil housing; Malmsteen sought to combine the tone of a single coil with the reduced noise of a humbucker) as being instrumental to his unique tone. The Malmsteen signature model Stratocaster made by Fender is based accurately upon this combination. Malmsteen prefers vintage Fender Stratocasters from 1968 through 1972. On all his guitars, the tone is completely disconnected along with the middle pickup. Yngwie only uses the bridge (DiMarzio HS-3) and neck pickups (DiMarzio YJM) on his guitars and allows the low output DiMarzio HS-3 on the bridge pickup to be driven by the floor pedals for his unique rich sound. All Malmsteen's Stratocasters have brass nuts and are all refretted with Dunlop 6000 super jumbo fretwire. According to Fender, Yngwie has one of the most impressive collection of vintage Fender Stratocasters known. He has well over 200 Stratocasters, including one original Fender Stratocaster actually signed by Leo Fender.
Malmsteen has stayed true to the basic equipment he uses on stage. Malmsteen continues to use strictly vintage 1971 Marshall amplifiers for his live performances. Often wowing his audiences with his vintage Marshall collection, Malmsteen regularly performs with a literal wall of up to 27 vintage Marshall 4x12 Cabinets with G30 Celestion speakers (30 Watt). All of the 24 heads on the cabinets are Vintage 1971 Mark II Marshall 50 Watt heads. All wireless units are Samson. Floor pedals consist of a Boss CS-3 Compression Sustainer, Roland DC-10 analog echo pedal, vintage Dunlop Cry-Baby Wah Pedal, Roland PK-5 MIDI pedal, Boss OC-2 Octave, Overdrive Pre-Amp pedal, and a floor switch box for his effects rack by Bob Bradshaw. Yngwie's guitars onstage are strictly 1968-1972 Fender Stratocasters, except for his acoustic sets in which he uses a nylon stringed electro-acoustic black or white Ovation Viper. These guitars are equipped with Piezo pickups run into the Boss CS-3 pedal direct into the mixing desk, out to the PA and stage monitors. Prior to the Ovations, Yngwie used Aria, Alvarez & Gibson classical acoustics on stage. All live microphones are Shure SM57's.
Yngwie Johann Malmsteen (born Lars Johann Yngve Lannerb臘k Malmsteen, June 30, 1963) is a Swedish guitarist, composer and bandleader.Malmsteen achieved widespread acclaim in the 1980s due to his technical proficiency and his pioneering of the neo-classical metal genre.
Born into a musical family in Stockholm, Malmsteen was the youngest child in the family. In September 18, 1970, at age seven, he saw a TV special on the death of Jimi Hendrix that made him obsessed with the guitar. To quote his official website, "The day Jimi Hendrix died, the guitar-playing Yngwie was born".
He claims that Yngwie (pronounced "ING-VAY") means "young Viking chief" in Swedish. Technically it is a variation of Yngvi, who founded the House of Yngling, which is the oldest known Swedish dynasty.
Malmsteen was in his teens when he first encountered the music of the 19th-century violin virtuoso Niccol・Paganini, whom he cites as his biggest classical influence. It has been rumoured that Yngwie believes himself to be the reincarnation of the temperamental, often criticized, and widely misunderstood violinist from Genoa.[citation needed] Through his emulation of Paganini concerto pieces on guitar, Malmsteen developed a prodigious technical fluency. Malmsteen also cites Jimi Hendrix, Brian May of Queen, Steve Hackett of Genesis, Uli Jon Roth, and Ritchie Blackmore of Deep Purple as influences.
Malmsteen's guitar style include a wide, violin-like vibrato inspired by classical violinists, and use of such minor scales as the Harmonic minor, and minor modes such as Phrygian, and Aeolian. Malmsteen cites the Fender Stratocaster and the single coil pickups (of which he uses his custom design by DiMarzio, a vertically-stacked humbucker mounted in a single coil housing; Malmsteen sought to combine the tone of a single coil with the reduced noise of a humbucker) as being instrumental to his unique tone. The Malmsteen signature model Stratocaster made by Fender is based accurately upon this combination. Malmsteen prefers vintage Fender Stratocasters from 1968 through 1972. On all his guitars, the tone is completely disconnected along with the middle pickup. Yngwie only uses the bridge (DiMarzio HS-3) and neck pickups (DiMarzio YJM) on his guitars and allows the low output DiMarzio HS-3 on the bridge pickup to be driven by the floor pedals for his unique rich sound. All Malmsteen's Stratocasters have brass nuts and are all refretted with Dunlop 6000 super jumbo fretwire. According to Fender, Yngwie has one of the most impressive collection of vintage Fender Stratocasters known. He has well over 200 Stratocasters, including one original Fender Stratocaster actually signed by Leo Fender.
Malmsteen has stayed true to the basic equipment he uses on stage. Malmsteen continues to use strictly vintage 1971 Marshall amplifiers for his live performances. Often wowing his audiences with his vintage Marshall collection, Malmsteen regularly performs with a literal wall of up to 27 vintage Marshall 4x12 Cabinets with G30 Celestion speakers (30 Watt). All of the 24 heads on the cabinets are Vintage 1971 Mark II Marshall 50 Watt heads. All wireless units are Samson. Floor pedals consist of a Boss CS-3 Compression Sustainer, Roland DC-10 analog echo pedal, vintage Dunlop Cry-Baby Wah Pedal, Roland PK-5 MIDI pedal, Boss OC-2 Octave, Overdrive Pre-Amp pedal, and a floor switch box for his effects rack by Bob Bradshaw. Yngwie's guitars onstage are strictly 1968-1972 Fender Stratocasters, except for his acoustic sets in which he uses a nylon stringed electro-acoustic black or white Ovation Viper. These guitars are equipped with Piezo pickups run into the Boss CS-3 pedal direct into the mixing desk, out to the PA and stage monitors. Prior to the Ovations, Yngwie used Aria, Alvarez & Gibson classical acoustics on stage. All live microphones are Shure SM57's.
Steve Vai
Steve Vai
Steven Siro Vai (born June 6, 1960 in Carle Place, New York) is a Grammy Award winning guitarist, composer and record producer.
Vai became interested in rock giants such as Jimi Hendrix, Alice Cooper and Led Zeppelin which led him to take up learning the guitar. Prior to attending Berklee College of Music, Steve frequently jammed with his teacher Joe Satriani and played in numerous local bands.He has acknowledged the influence of many guitarists, including Jeff Beck and fusion guitarist Allan Holdsworth.
It was also at this time that he became fascinated by the music of Frank Zappa. A persistent rumor at Berklee tells how Steve would skip classes while spending time in the school's library transcribing Zappa's works by ear. Steve mailed transcriptions of Zappa's guitar solos to him, and after meeting Vai for the first time he was so impressed with the abilities of the young musician, he hired him to do work transcribing his seemingly endless array of experimental symphonic rock. In these formative stages of his career, Vai's talent was showcased on such songs as "Moggio" and "Stevie's Spanking".
While employed by Zappa, he would at times tour with Zappa's band and engage in a friendly competition with the audience, wherein audience members could bring in musical scores and see if Vai could sight-read them on the spot. Vai is also known to have perfect pitch.
After leaving Zappa in 1982 he moved to California where he recorded his first album Flex-Able and performed in a couple of bands. In 1984 he replaced Yngwie Malmsteen as lead guitarist in Graham Bonnet's Alcatrazz with whom he recorded the album Disturbing the Peace.
Later in 1985 Vai joined former Van Halen frontman David Lee Roth's newly assembled group (which also featured acclaimed bassist Billy Sheehan and drummer Gregg Bissonette) to record the multi-platinum albums Eat'em And Smile and Skyscraper. These albums, along with their accompanying videos and arena tours significantly enhanced Vai's reputation and popularity. At the time, Roth engaged in a war of words with the members of Van Halen. Many commentators favorably compared Vai's guitar-playing to Eddie Van Halen's.
Steve Vai continues to tour regularly, both with his own group and with his one time teacher and fellow guitar instrumentalist friend Joe Satriani on the G3 series of tours. Former David Lee Roth bassist Billy Sheehan also joined him for a world tour.
Steve Vai's music has been featured in a number of feature films, including Dudes and Ghosts of Mars. He appeared onscreen in the 1986 Ralph Macchio movie Crossroads, playing the demonically-inspired Jack Butler. At the film's climax, Vai engages in a guitar duel with Macchio, whose guitar parts were dubbed by Vai and Ry Cooder. The fast-paced neo-classical track entitled "Eugene's Trick Bag" with which Macchio wins the competition was also composed by Vai. The body of the piece was heavily based on Paganini's Caprice #5, and has become a favorite apprentice-piece among many guitar students.[citation needed] He later borrowed the opening riff from the track "Head Cuttin' Duel" for a song called "Bad Horsie" from his 1995 album Alien Love Secrets.
In 1991's Bill & Ted's Bogus Journey the introductory riff to Kiss' God Gave Rock 'N Roll To You, as performed by the Stallyns in the Battle of the Bands was performed by Vai. He also composed and performed the soundtrack to PCU (1994), and made contributions to the score for John Carpenter's Ghosts of Mars, performing on the tracks "Ghosts of Mars" and "Ghost Poppin".
Vai is an accomplished studio producer (he owns two: "The Mothership" and "The Harmony Hut") and his own recordings combine his signature guitar prowess with novel compositions and considerable use of studio and recording effects, such as the Eventide H3000 ultra harmonizer and Digidesign's Pro Tools Hard Disc recording system and plug-in effects architecture.
Vai also helped design his signature Ibanez JEM series of guitars. They feature a hand grip (fondly referred to as a "monkey grip") cut into the top of the body of the guitar, a humbucker-single coil-humbucker DiMarzio pickup configuration, and Ibanez's Edge locking tremolo system, as well as an elaborate and extensive "Vine of Life" inlay down the neck. Steve also has a 7 string model designed by him named Ibanez Universe. The Universe later influenced the 7-string guitars used by Korn and other heavy metal bands to create nu-metal sounds in the late 1990s. He also has a signature Ibanez acoustic, the Euphoria.
Steve Vai has also worked with Carvin Guitars and Pro Audio to develop the Carvin Legacy line of guitar amplifiers. Vai wanted to create an amp that was unique in sound, versatility, and affordability to any guitar amp he had previously used.
Steven Siro Vai (born June 6, 1960 in Carle Place, New York) is a Grammy Award winning guitarist, composer and record producer.
Vai became interested in rock giants such as Jimi Hendrix, Alice Cooper and Led Zeppelin which led him to take up learning the guitar. Prior to attending Berklee College of Music, Steve frequently jammed with his teacher Joe Satriani and played in numerous local bands.He has acknowledged the influence of many guitarists, including Jeff Beck and fusion guitarist Allan Holdsworth.
It was also at this time that he became fascinated by the music of Frank Zappa. A persistent rumor at Berklee tells how Steve would skip classes while spending time in the school's library transcribing Zappa's works by ear. Steve mailed transcriptions of Zappa's guitar solos to him, and after meeting Vai for the first time he was so impressed with the abilities of the young musician, he hired him to do work transcribing his seemingly endless array of experimental symphonic rock. In these formative stages of his career, Vai's talent was showcased on such songs as "Moggio" and "Stevie's Spanking".
While employed by Zappa, he would at times tour with Zappa's band and engage in a friendly competition with the audience, wherein audience members could bring in musical scores and see if Vai could sight-read them on the spot. Vai is also known to have perfect pitch.
After leaving Zappa in 1982 he moved to California where he recorded his first album Flex-Able and performed in a couple of bands. In 1984 he replaced Yngwie Malmsteen as lead guitarist in Graham Bonnet's Alcatrazz with whom he recorded the album Disturbing the Peace.
Later in 1985 Vai joined former Van Halen frontman David Lee Roth's newly assembled group (which also featured acclaimed bassist Billy Sheehan and drummer Gregg Bissonette) to record the multi-platinum albums Eat'em And Smile and Skyscraper. These albums, along with their accompanying videos and arena tours significantly enhanced Vai's reputation and popularity. At the time, Roth engaged in a war of words with the members of Van Halen. Many commentators favorably compared Vai's guitar-playing to Eddie Van Halen's.
Steve Vai continues to tour regularly, both with his own group and with his one time teacher and fellow guitar instrumentalist friend Joe Satriani on the G3 series of tours. Former David Lee Roth bassist Billy Sheehan also joined him for a world tour.
Steve Vai's music has been featured in a number of feature films, including Dudes and Ghosts of Mars. He appeared onscreen in the 1986 Ralph Macchio movie Crossroads, playing the demonically-inspired Jack Butler. At the film's climax, Vai engages in a guitar duel with Macchio, whose guitar parts were dubbed by Vai and Ry Cooder. The fast-paced neo-classical track entitled "Eugene's Trick Bag" with which Macchio wins the competition was also composed by Vai. The body of the piece was heavily based on Paganini's Caprice #5, and has become a favorite apprentice-piece among many guitar students.[citation needed] He later borrowed the opening riff from the track "Head Cuttin' Duel" for a song called "Bad Horsie" from his 1995 album Alien Love Secrets.
In 1991's Bill & Ted's Bogus Journey the introductory riff to Kiss' God Gave Rock 'N Roll To You, as performed by the Stallyns in the Battle of the Bands was performed by Vai. He also composed and performed the soundtrack to PCU (1994), and made contributions to the score for John Carpenter's Ghosts of Mars, performing on the tracks "Ghosts of Mars" and "Ghost Poppin".
Vai is an accomplished studio producer (he owns two: "The Mothership" and "The Harmony Hut") and his own recordings combine his signature guitar prowess with novel compositions and considerable use of studio and recording effects, such as the Eventide H3000 ultra harmonizer and Digidesign's Pro Tools Hard Disc recording system and plug-in effects architecture.
Vai also helped design his signature Ibanez JEM series of guitars. They feature a hand grip (fondly referred to as a "monkey grip") cut into the top of the body of the guitar, a humbucker-single coil-humbucker DiMarzio pickup configuration, and Ibanez's Edge locking tremolo system, as well as an elaborate and extensive "Vine of Life" inlay down the neck. Steve also has a 7 string model designed by him named Ibanez Universe. The Universe later influenced the 7-string guitars used by Korn and other heavy metal bands to create nu-metal sounds in the late 1990s. He also has a signature Ibanez acoustic, the Euphoria.
Steve Vai has also worked with Carvin Guitars and Pro Audio to develop the Carvin Legacy line of guitar amplifiers. Vai wanted to create an amp that was unique in sound, versatility, and affordability to any guitar amp he had previously used.
John Petrucci
John Petrucci
John Petrucci (born July 12, 1967) is an American guitarist best known as a founding member of the Progressive metal group Dream Theater. He is also the producer (along with his bandmate Mike Portnoy) of all Dream Theater albums since their 1999 release, Scenes From A Memory.
John first played guitar at age 8 when he noticed his sister (who was taking organ lessons at the time) was allowed to stay up past her bed time to practice. He soon dropped it when his plan failed. At age 12, he began playing again when he was invited into the band of his friend Kevin Moore, who would later become the first keyboardist of Dream Theater. John began to practice in earnest whilst exercising physically. He was a largely self-taught guitarist who developed his skills through attempts to match the skill of his idols, who included Steve Morse, Steve Howe, Steve Vai, Stevie Ray Vaughan, Al Di Meola, Alex Lifeson and Allan Holdsworth. He has jokingly referred to his guitar idols as "the Steves and the Als".
In 2001 he was invited by Joe Satriani and Steve Vai to tour with them on the popular G3 guitar tour, which exposed him to a massive number of new fans and inspired him to record a solo album. Suspended Animation was released on March 1, 2005, and made available for order from his web site. He also appeared on the 2005 G3 tour.
John is a devoted user of Mesa Boogie amplifiers. During his career, he has used Mark II's, Mark IV's, Dual Rectifiers, the Formula, Recto, TriAxis and Formula preamps, and 2:90 power amps. He also has a one-off custom preamp called the Nunya. More recently, John has been using the Road King heads for his dirty tones, and the Lonestar for his cleans.
Petrucci is also notable as one of relatively few users of the seven-string guitar. While he uses a conventional six-string guitar in the majority of his compositions, he began to use Ibanez seven-string guitars on three tracks of the 1994 album Awake and on songs like "A Change of Seasons", "The Glass Prison", "The Test That Stumped Them All", "Just Let Me Breathe", "Jaws of Life", "This Dying Soul" and also "The Dance of Eternity" (from the album Metropolis, Pt. 2: Scenes From a Memory). Beginning with the album "Six Degrees of Inner Turbulence", he started to experiment with lower tunings on his guitars. Much of the track "Blind Faith" from that album was tracked with a detuned Ernie Ball Silhouette six-string bass guitar, simulating a baritone guitar. (Baritone guitars feature a longer scale neck, giving far greater tuning stability at lower tunings than a standard guitar.) Lately, it seems that he has favoured these detuned six-string guitars over his seven-strings. He now has proper Ernie Ball JPM baritones but they are not comercially available as of yet.
Petrucci currently endorses Ernie Ball/MusicMan guitars and has two signature guitars on the market, a six- and a seven-string. Petrucci uses a modified DiMarzio Air Norton in the neck position and a DiMarzio D-Sonic in the bridge position. His signature Musicman guitars also have Piezo acoustic bridges (special saddles hold the strings and pick up the true acoustic vibrations of the strings). This allows John to make his electric guitar sound like an acoustic guitar. He uses this in many of Dream Theater's songs, one of the most obvious examples in the song "Hollow Years". In the past he has endorsed Ibanez guitars, and had his own signature model manufactured by the company (also known as the "JPM" model).
John Petrucci (born July 12, 1967) is an American guitarist best known as a founding member of the Progressive metal group Dream Theater. He is also the producer (along with his bandmate Mike Portnoy) of all Dream Theater albums since their 1999 release, Scenes From A Memory.
John first played guitar at age 8 when he noticed his sister (who was taking organ lessons at the time) was allowed to stay up past her bed time to practice. He soon dropped it when his plan failed. At age 12, he began playing again when he was invited into the band of his friend Kevin Moore, who would later become the first keyboardist of Dream Theater. John began to practice in earnest whilst exercising physically. He was a largely self-taught guitarist who developed his skills through attempts to match the skill of his idols, who included Steve Morse, Steve Howe, Steve Vai, Stevie Ray Vaughan, Al Di Meola, Alex Lifeson and Allan Holdsworth. He has jokingly referred to his guitar idols as "the Steves and the Als".
In 2001 he was invited by Joe Satriani and Steve Vai to tour with them on the popular G3 guitar tour, which exposed him to a massive number of new fans and inspired him to record a solo album. Suspended Animation was released on March 1, 2005, and made available for order from his web site. He also appeared on the 2005 G3 tour.
John is a devoted user of Mesa Boogie amplifiers. During his career, he has used Mark II's, Mark IV's, Dual Rectifiers, the Formula, Recto, TriAxis and Formula preamps, and 2:90 power amps. He also has a one-off custom preamp called the Nunya. More recently, John has been using the Road King heads for his dirty tones, and the Lonestar for his cleans.
Petrucci is also notable as one of relatively few users of the seven-string guitar. While he uses a conventional six-string guitar in the majority of his compositions, he began to use Ibanez seven-string guitars on three tracks of the 1994 album Awake and on songs like "A Change of Seasons", "The Glass Prison", "The Test That Stumped Them All", "Just Let Me Breathe", "Jaws of Life", "This Dying Soul" and also "The Dance of Eternity" (from the album Metropolis, Pt. 2: Scenes From a Memory). Beginning with the album "Six Degrees of Inner Turbulence", he started to experiment with lower tunings on his guitars. Much of the track "Blind Faith" from that album was tracked with a detuned Ernie Ball Silhouette six-string bass guitar, simulating a baritone guitar. (Baritone guitars feature a longer scale neck, giving far greater tuning stability at lower tunings than a standard guitar.) Lately, it seems that he has favoured these detuned six-string guitars over his seven-strings. He now has proper Ernie Ball JPM baritones but they are not comercially available as of yet.
Petrucci currently endorses Ernie Ball/MusicMan guitars and has two signature guitars on the market, a six- and a seven-string. Petrucci uses a modified DiMarzio Air Norton in the neck position and a DiMarzio D-Sonic in the bridge position. His signature Musicman guitars also have Piezo acoustic bridges (special saddles hold the strings and pick up the true acoustic vibrations of the strings). This allows John to make his electric guitar sound like an acoustic guitar. He uses this in many of Dream Theater's songs, one of the most obvious examples in the song "Hollow Years". In the past he has endorsed Ibanez guitars, and had his own signature model manufactured by the company (also known as the "JPM" model).
Frank Zappa
Frank Zappa
Zappa, Frank Vincent (1940-1993), American composer and rock star whose music defies all conventional categorization. Born in Baltimore, Maryland, Zappa was influenced in his teens in California by the disparate influences of Edgard Var鑚e and 1950s rhythm and blues. He took up the drums, then the guitar. Two songs he wrote became minor local hits (one in Mexico), but it was not until 1965 that he had any real success, a year after forming a band in Los Angeles called The Mothers, later renamed The Mothers of Invention. In 1966 their debut record, Freak Out!, was the first double album, and the first concept album, in rock history. Nothing like it had ever been heard in popular music. The songs were essays in ironic social criticism, parodying the sounds of 1960s rock and including techniques taken from traditional and avant-garde classical music.
Zappa, Frank Vincent (1940-1993), American composer and rock star whose music defies all conventional categorization. Born in Baltimore, Maryland, Zappa was influenced in his teens in California by the disparate influences of Edgard Var鑚e and 1950s rhythm and blues. He took up the drums, then the guitar. Two songs he wrote became minor local hits (one in Mexico), but it was not until 1965 that he had any real success, a year after forming a band in Los Angeles called The Mothers, later renamed The Mothers of Invention. In 1966 their debut record, Freak Out!, was the first double album, and the first concept album, in rock history. Nothing like it had ever been heard in popular music. The songs were essays in ironic social criticism, parodying the sounds of 1960s rock and including techniques taken from traditional and avant-garde classical music.
Saturday, October 6, 2007
Best 500 Rock Albums
The best 500 song albums by The Rolling Stone Magazine are :1. Sgt. Pepper's Lonely Hearts Club Band, The Beatles2. Pet Sounds, The Beach Boys3. Revolver, The Beatles4. Highway 61 Revisited, Bob Dylan5. Rubber Soul, The Beatles6. What's Going On, Marvin Gaye7. Exile on Main Street, The Rolling Stones8. London Calling, The Clash9. Blonde on Blonde, Bob Dylan10. The Beatles ("The White Album"), The Beatles11. The Sun Sessions, Elvis Presley12. Kind of Blue, Miles Davis13. Velvet Underground and Nico, The Velvet Underground14. Abbey Road, The Beatles15. Are You Experienced?, The Jimi Hendrix Experience16. Blood on the Tracks, Bob Dylan17. Nevermind, Nirvana18. Born to Run, Bruce Springsteen19. Astral Weeks, Van Morrison20. Thriller, Michael Jackson21. The Great Twenty-Eight, Chuck Berry22. Plastic Ono Band, John Lennon23. Innervisions, Stevie Wonder24. Live at the Apollo (1963), James Brown25. Rumours, Fleetwood Mac26. The Joshua Tree, U227. King of the Delta Blues Singers, Vol. 1, Robert Johnson28. Who's Next, The Who29. Led Zeppelin, Led Zeppelin30. Blue, Joni Mitchell31. Bringing It All Back Home, Bob Dylan32. Let It Bleed, The Rolling Stones33. Ramones, Ramones34. Music From Big Pink, The Band35. The Rise and Fall of Ziggy Stardust and the Spiders From Mars, David Bowie36. Tapestry, Carole King37. Hotel California, The Eagles38. The Anthology, 1947 - 1972, Muddy Waters39. Please Please Me, The Beatles40. Forever Changes, Love41. Never Mind the Bollocks, Here's the Sex Pistols, The Sex Pistols42. The Doors, The Doors43. The Dark Side of the Moon, Pink Floyd44. Horses, Patti Smith45. The Band, The Band46. Legend, Bob Marley and the Wailers47. A Love Supreme, John Coltrane48. It Takes a Nation of Millions to Hold Us Back, Public Enemy49. At Fillmore East, The Allman Brothers Band50. Here's Little Richard, Little Richard51. Bridge Over Troubled Water, Simon and Garfunkel52. Greatest Hits, Al Green53. The Birth of Soul: The Complete Atlantic Rhythm and Blues Recordings, 1952 - 1959, Ray Charles54. Electric Ladyland, The Jimi Hendrix Experience55. Elvis Presley, Elvis Presley56. Songs in the Key of Life, Stevie Wonder57. Beggars Banquet, The Rolling Stones58. Trout Mask Replica, Captain Beefheart and His Magic Band59. Meet the Beatles, The Beatles60. Greatest Hits, Sly and the Family Stone61. Appetite for Destruction, Guns n' Roses62. Achtung Baby, U263. Sticky Fingers, The Rolling Stones64. Phil Spector, Back to Mono (1958 - 1969), Various Artists65. Moondance, Van Morrison66. Led Zeppelin IV, Led Zeppelin67. The Stranger, Billy Joel68. Off the Wall, Michael Jackson69. Superfly, Curtis Mayfield70. Physical Graffiti, Led Zeppelin71. After the Gold Rush, Neil Young72. Purple Rain, Prince73. Back in Black, AC/DC74. Otis Blue, Otis Redding75. Led Zeppelin II, Led Zeppelin76. Imagine, John Lennon77. The Clash, The Clash78. Harvest, Neil Young79. Star Time, James Brown80. Odessey and Oracle, The Zombies81. Graceland, Paul Simon82. Axis: Bold as Love, The Jimi Hendrix Experience83. I Never Loved a Man the Way I Love You, Aretha Franklin84. Lady Soul, Aretha Franklin85. Born in the U.S.A., Bruce Springsteen86. Let It Be, The Beatles87. The Wall, Pink Floyd88. At Folsom Prison, Johnny Cash89. Dusty in Memphis, Dusty Springfield90. Talking Book, Stevie Wonder91. Goodbye Yellow Brick Road, Elton John92. 20 Golden Greats, Buddy Holly93. Sign 'o' the Times, Prince94. Bitches Brew, Miles Davis95. Green River, Creedence Clearwater Revival96. Tommy, The Who97. The Freewheelin' Bob Dylan, Bob Dylan98. This Year's Model, Elvis Costello99. There's a Riot Goin' On, Sly and the Family Stone100. In the Wee Small Hours, Frank Sinatra101. Fresh Cream, Cream102. Giant Steps, John Coltrane103. Sweet Baby James, James Taylor104. Modern Sounds in Country and Western Music, Ray Charles105. Rocket to Russia, Ramones106. Portrait of a Legend 1951 - 1964, Sam Cooke107. Hunky Dory, David Bowie108. Aftermath, The Rolling Stones109. Loaded, The Velvet Underground110. The Bends, Radiohead111. Court and Spark, Joni Mitchell112. Disraeli Gears, Cream113. The Who Sell Out, The Who114. Out of Our Heads, The Rolling Stones115. Layla and Other Assorted Love Songs, Derek and the Dominos116. At Last, Etta James117. Sweetheart of the Rodeo , The Byrds118. Stand!, Sly and the Family Stone119. The Harder They Come Original Soundtrack, Various Artists120. Raising Hell, Run-DMC121. Moby Grape, Moby Grape122. Pearl, Janis Joplin123. Catch a Fire, Bob Marley and the Wailers124. Younger Than Yesterday, The Byrds125. Raw Power, The Stooges126. Remain in Light, Talking Heads127. If You Can Believe Your Eyes and Ears, The Mamas and the Papas128. Marquee Moon, Television129. 40 Greatest Hits, Hank Williams130. Paranoid, Black Sabbath131. Saturday Night Fever, Various Artists132. The Wild, the Innocent and the E Street Shuffle, Bruce Springsteen133. Ready to Die, The Notorious B.I.G.134. Slanted and Enchanted, Pavement135. Greatest Hits, Elton John136. Tim, The Replacements137. The Chronic, Dr. Dre138. Rejuvenation, The Meters139. All That You Can't Leave Behind, U2140. Parallel Lines, Blondie141. Live at the Regal, B.B. King142. Phil Spector, A Christmas Gift for You, Various Artists143. Gris-Gris, Dr. John144. Straight Outta Compton, N.W.A145. Aja, Steely Dan146. Surrealistic Pillow, Jefferson Airplane147. Dreams to Remember: The Otis Redding Anthology, Otis Redding148. Deja Vu, Crosby Stills Nash and Young149. Houses of the Holy, Led Zeppelin150. Santana, Santana151. Darkness on the Edge of Town, Bruce Springsteen152. The B-52's, The B-52's153. Moanin' in the Moonlight, Howlin' Wolf154. The Low End Theory, A Tribe Called Quest155. Pretenders, The Pretenders156. Paul's Boutique, Beastie Boys157. Closer, Joy Division158. Captain Fantastic and the Brown Dirt Cowboy, Elton John159. Alive, Kiss160. Electric Warrior, T. Rex161. The Dock of the Bay, Otis Redding162. OK Computer, Radiohead163. 1999, Prince164. Heart Like a Wheel, Linda Ronstadt165. Let's Get It On, Marvin Gaye166. Imperial Bedroom , Elvis Costello167. Master of Puppets, Metallica168. My Aim Is True, Elvis Costello169. Exodus, Bob Marley170. Live at Leeds, The Who171. The Notorious Byrd Brothers, The Byrds172. Every Picture Tells a Story, Rod Stewart173. Something/Anything?, Todd Rundgren174. Desire, Bob Dylan175. Close to You, The Carpenters176. Rocks, Aerosmith177. One Nation Under a Groove, Parliament/Funkadelic178. Greatest Hits, The Byrds179. The Anthology 1961 - 1977, Curtis Mayfield and the Impressions180. The Definitive Collection, Abba181. The Rolling Stones, Now!, The Rolling Stones182. Natty Dread, Bob Marley and the Wailers183. Fleetwood Mac, Fleetwood Mac184. Red Headed Stranger, Willie Nelson185. The Stooges, The Stooges186. Fresh, Sly and the Family Stone187. So, Peter Gabriel188. Buffalo Springfield Again, Buffalo Springfield189. Happy Trails, Quicksilver Messenger Service190. From Elvis in Memphis, Elvis Presley191. Funhouse, The Stooges192. The Gilded Palace of Sin, The Flying Burrito Brothers193. Dookie, Green Day194. Transformer, Lou Reed195. Bluesbreakers, John Mayall With Eric Clapton196. Nuggets: Original Artyfacts from the First Psychedelic Era 1965 - 1968, Various Artists197. Murmur, R.E.M.198. The Best of, Little Walter199. Highway to Hell, AC/DC200. The Downward Spiral, Nine Inch201. Parsley, Sage, Rosemary and Thyme, Simon and Garfunkel202. Bad, Michael Jackson203. Wheels of Fire, Cream204. Dirty Mind, Prince205. Abraxas, Santana206. Tea for the Tillerman, Cat Stevens207. Ten, Pearl Jam208. Everybody Knows This Is Nowhere, Neil Young With Crazy Horse209. Wish You Were Here, Pink Floyd210. Crooked Rain, Crooked Rain, Pavement211. Tattoo You, The Rolling Stones212. Proud Mary: The Best of Ike and Tina Turner, Ike and Tina Turner213. New York Dolls, New York Dolls214. Bo Diddley/Go Bo Diddley, Bo Diddley215. Two Steps From the Blues, Bobby Bland216. The Queen Is Dead, The Smiths217. Licensed to Ill, Beastie Boys218. Look-Ka Py Py, The Meters219. Loveless, My Bloody Valentine220. New Orleans Piano, Professor Longhair221. War, U2222. The Neil Diamond Collection, Neil Diamond223. Howlin' Wolf, Howlin' Wolf224. Nebraska, Bruce Springsteen225. The Complete Hank Williams, Hank Williams226. Doolittle, Pixies227. Paid in Full, Eric B. and Rakim228. Toys in the Attic, Aerosmith229. Nick of Time, Bonnie Raitt230. A Night at the Opera, Queen231. The Kink Kronikles, The Kinks232. Mr. Tambourine Man, The Byrds233. Bookends, Simon and Garfunkel234. The Ultimate Collection, Patsy Cline235. Mr. Excitement!, Jackie Wilson236. The Who Sings My Generation, The Who237. Like a Prayer, Madonna238. Can't Buy a Thrill, Steely Dan239. Let It Be, The Replacements240. Run-DMC, Run-DMC241. Black Sabbath, Black Sabbath242. The Jerry Lee Lewis Anthology: All Killer No Filler!, Jerry Lee Lewis243. Freak Out!, The Mothers of Invention244. Live Dead, Grateful Dead245. Bryter Layter, Nick Drake246. The Shape of Jazz to Come, Ornette Coleman247. Automatic for the People, R.E.M.248. Reasonable Doubt, Jay-Z249. Low, David Bowie250. The River, Bruce Springsteen251. The Otis Redding Dictionary of Soul, Otis Redding252. Metallica, Metallica253. Trans-Europe Express, Kraftwerk254. Whitney Houston, Whitney Houston255. The Kinks Are the Village Green Preservation Society, The Kinks256. The Velvet Rope, Janet Jackson257. Stardust, Willie Nelson258. American Beauty, Grateful Dead259. Crosby Stills and Nash, Crosby Stills and Nash260. Buena Vista Social Club , Buena Vista Social Club261. Tracy Chapman, Tracy Chapman262. Workingman's Dead, Grateful Dead263. The Genius of Ray Charles, Ray Charles264. Child Is Father to the Man, Blood, Sweat and Tears265. Cosmo's Factory, Creedence Clearwater Revival266. Quadrophenia, The Who267. There Goes Rhymin' Simon, Paul Simon268. Psycho Candy, The Jesus and Mary Chain269. Some Girls, The Rolling Stones270. The Beach Boys Today!, The Beach Boys271. Going to a Go-Go, Smokey Robinson and the Miracles272. Nightbirds, Labelle273. The Slim Shady LP, Eminem274. Mothership Connection, Parliament275. Rhythm Nation 1814, Janet Jackson276. Anthology of American Folk Music, Harry Smith, ed.277. Aladdin Sane, David Bowie278. The Immaculate Collection, Madonna279. My Life, Mary J. Blige280. Folk Singer, Muddy Waters281. Can't Get Enough, Barry White282. The Cars, The Cars283. Five Leaves Left, Nick Drake284. Music of My Mind, Stevie Wonder285. I'm Still in Love With You, Al Green286. Los Angeles, X287. Anthem of the Sun, Grateful Dead288. Something Else by the Kinks, The Kinks289. Call Me, Al Green290. Talking Heads: 77, Talking Heads291. The Basement Tapes, Bob Dylan and the Band292. White Light / White Heat, The Velvet Underground293. Greatest Hits, Simon and Garfunkel294. Kick Out the Jams, MC5295. Meat Is Murder, The Smiths296. We're Only In It For the Money, The Mothers of Invention297. Weezer (Blue Album), Weezer298. Master of Reality, Black Sabbath299. Coat of Many Colors, Dolly Parton300. Fear of a Black Planet, Public Enemy301. John Wesley Harding, Bob Dylan302. The Marshall Mathers LP, Eminem303. Grace, Jeff Buckley304. Car Wheels on a Gravel Road, Lucinda Williams305. Odelay, Beck306. Songs for Swingin' Lovers, Frank Sinatra307. Avalon, Roxy Music308. The Sun Records Collection, Various Artists309. Nothing's Shocking, Jane's Addiction310. BloodSugarSexMagik, Red Hot Chili Peppers311. Unplugged in New York, Nirvana312. The Miseducation of Lauryn Hill, Lauryn Hill313. Damn the Torpedoes, Tom Petty and the Heartbreakers314. The Velvet Underground, The Velvet Underground315. Surfer Rosa, Pixies316. Rock Steady, No Doubt317. The Eminem Show, Eminem318. Back Stabbers, The O'Jays319. Burnin', Bob Marley and the Wailers320. Pink Moon, Nick Drake321. Sail Away, Randy Newman322. Ghost in the Machine, The Police323. Station to Station, David Bowie324. The Very Best of Linda Ronstadt, Linda Ronstadt325. Slowhand, Eric Clapton326. Disintegration, The Cure327. Jagged Little Pill, Alanis Morissette328. Exile in Guyville, Liz Phair329. Daydream Nation, Sonic Youth330. In the Jungle Groove, James Brown331. Tonight's the Night, Neil Young332. Help!, The Beatles333. Shoot Out the Lights, Richard and Linda Thompson334. Wild Gift, X335. Squeezing Out Sparks, Graham Parker336. Superunknown, Soundgarden337. Aqualung, Jethro Tull338. Cheap Thrills, Big Brother and the Holding Company339. The Heart of Saturday Night, Tom Waits340. Damaged, Black Flag341. Play, Moby342. Violator, Depeche Mode343. Bat Out of Hell, Meat Loaf344. Berlin, Lou Reed345. Stop Making Sense, Talking Heads346. 3 Feet High and Rising, De La Soul347. The Piper at the Gates of Dawn, Pink Floyd348. At Newport 1960, Muddy Waters349. Roger the Engineer (a.k.a. Over Under Sideways Down), The Yardbirds350. Rust Never Sleeps, Neil Young and Crazy Horse351. Brothers in Arms, Dire Straits352. 52nd Street, Billy Joel353. Having a Rave Up With the Yardbirds, The Yardbirds354. 12 Songs, Randy Newman355. Between the Buttons, The Rolling Stones356. Sketches of Spain, Miles Davis357. Honky Chateau, Elton John358. Singles Going Steady, Buzzcocks359. Stankonia, Outkast360. Siamese Dream, The Smashing Pumpkins361. Substance, New Order362. L.A. Woman, The Doors363. Ray of Light, Madonna364. American Recordings, Johnny Cash365. Louder Than Bombs, The Smiths366. Mott, Mott the Hoople367. Is This It, The Strokes368. Rage Against the Machine, Rage Against the Machine369. Reggatta de Blanc, The Police370. Volunteers, Jefferson Airplane371. Siren, Roxy Music372. Late for the Sky, Jackson Browne373. Post, Bjork374. The Eagles, The Eagles375. The Ultimate Collection (1948 - 1990), John Lee Hooker376. (What's the Story) Morning Glory?, Oasis377. CrazySexyCool, TLC378. Funky Kingston, Toots and the Maytals379. Greetings from Asbury Park, Bruce Springsteen380. Sunflower, The Beach Boys381. Modern Lovers, Modern Lovers382. More Songs About Buildings and Food, Talking Heads383. A Quick One (Happy Jack), The Who384. Pyromania, Def Leppard385. Pretzel Logic, Steely Dan386. Enter the Wu-Tang: 36 Chambers, Wu-Tang Clan387. Country Life, Roxy Music388. A Hard Day's Night, The Beatles389. The End of the Innocence, Don Henley390. Elephant, The White Stripes391. The Pretender, Jackson Browne392. Willy and the Poor Boys, Creedence Clearwater Revival393. Good Old Boys, Randy Newman394. For Your Pleasure, Roxy Music395. Blue Lines, Massive Attack396. Eliminator, ZZ Top397. Rain Dogs, Tom Waits398. Anthology, The Temptations399. Californication, Red Hot Chili Peppers400. Illmatic, Nas401. (Pronounced Leh-Nerd Skin-Nerd), Lynyrd Skynyrd402. Dr. John's Gumbo, Dr. John403. Radio City, Big Star404. Sandinista!, The Clash405. Rid of Me, PJ Harvey406. I Do Not Want What I Haven't Got, Sinead O' Connor407. Strange Days, The Doors408. Time Out of Mind, Bob Dylan409. 461 Ocean Boulevard, Eric Clapton410. Pink Flag, Wire411. Double Nickels on the Dime, Minutemen412. Mezzanine, Massive Attack413. Beauty and the Beat, Go-Go's414. Greatest Hits, James Brown415. Van Halen , Van Halen416. Mule Variations, Tom Waits417. Boy, U2418. Band on the Run, Wings419. Dummy, Portishead420. With the Beatles, The Beatles421. The "Chirping" Crickets, Buddy Holly and the Crickets422. The Best of the Girl Groups, Volumes 1 and 2 , Various Artists423. Greatest Hits, The Mamas and the Papas424. King of the Delta Blues Singers, Vol. 2, Robert Johnson425. Changesone, David Bowie426. The Battle of Los Angeles, Rage Against the Machine427. Presenting the Fabulous Ronettes Featuring Veronica, The Ronettes428. Kid A, Radiohead429. Grievous Angel, Gram Parsons430. At Budokan, Cheap Trick431. Anthology, Diana Ross and the Supremes432. Sleepless, Peter Wolf433. Another Green World, Brian Eno434. Outlandos D'Amour, The Police435. To Bring You My Love, PJ Harvey436. Here Come the Warm Jets, Brian Eno437. All Things Must Pass, George Harrison438. #1 Record, Big Star439. In Utero, Nirvana440. Sea Change, Beck441. Tragic Kingdom, No Doubt442. Boys Don't Cry, The Cure443. Live at the Harlem Square Club, 1963, Sam Cooke444. Criminal Minded, Boogie Down Productions445. Rum Sodomy and the Lash, The Pogues446. Suicide, Suicide447. Q: Are We Not Men? A: We Are Devo!, Devo>448. In Color, Cheap Trick449. The World Is a Ghetto, War450. Fly Like an Eagle, Steve Miller Band451. Back in the USA, MC5452. Music, Madonna453. Ritual de lo Habitual, Jane's Addiction454. Getz/Gilberto, Stan Getz and Joao Gilberto Featuring Antonio Carlos Jobim455. Synchronicity, The Police456. Third/Sister Lovers, Big Star457. For Everyman, Jackson Browne458. John Prine, John Prine459. Strictly Business, EPMD460. Love It to Death, Alice Cooper461. How Will the Wolf Survive?, Los Lobos462. Here, My Dear, Marvin Gaye463. Tumbleweed Connection, Elton John464. The Blueprint, Jay-Z465. Golden Hits, The Drifters466. Live Through This, Hole467. Love and Theft, Bob Dylan468. Elton John, Elton John469. Metal Box, Public Image Ltd.470. Document, R.E.M.471. Heaven Up Here, Echo and the Bunnymen472. Hysteria, Def Leppard473. A Rush of Blood to the Head, Coldplay474. Live in Europe, Otis Redding475. Tunnel of Love, Bruce Springsteen476. The Paul Butterfield Blues Band, The Paul Butterfield Blues Band477. The Score, Fugees478. Radio, LL Cool J479. I Want to See the Bright Lights Tonight, Richard and Linda Thompson480. Faith, George Michael481. The Smiths, The Smiths482. Armed Forces, Elvis Costello and the Attractions483. Life After Death, The Notorious B.I.G.484. Branded Man, Merle Haggard485. All Time Greatest Hits, Loretta Lynn486. Maggot Brain, Funkadelic487. Mellon Collie and the Infinite Sadness, The Smashing Pumpkins488. Voodoo, D'Angelo489. Guitar Town, Steve Earle490. Entertainment!, Gang of Four491. All the Young Dudes, Mott the Hoople492. Vitalogy, Pearl Jam493. That's the Way of the World, Earth, Wind and Fire494. She's So Unusual, Cyndi Lauper495. New Day Rising, Husker Du496. Destroyer, Kiss497. Yo! Bum Rush the Show, Public Enemy498. Tres Hombres, ZZ Top499. Born Under a Bad Sign, Albert King500. Touch, Eurythmics
Best Bands - AVRev.com
Best Bands - AVRev.com
51. Rage Against The Machine 52. Sly and the Family Stone53. The Clash 54. Tool 55. Journey 56. No Doubt57. Creedence Clearwater Revival 58. Deep Purple59. Alice In Chains60. Orbital61. Little Feat62. Duran Duran63. Living Colour 64. Frank Zappa and the Mothers of Invention65. The Carpenters 66. Audioslave67. The Pretenders 68. Primus69. Blondie 70. Black Sabbath71. Lynyrd Skynyrd 72. Sex Pistols73. Isaac Hayes and the Movement74. R.E.M.75. Traffic 76. Buffalo Springfield77. Derek and the Dominos 78. The Jackson Five79. The O'Jays 80. Harold Melvin and the Blue Notes81. Underworld 82. Thievery Corporation83. Motley Crue 84. Big Brother and the Holding Company85. Blind Faith 86. The Animals87. The Roots 88. The Velvet Underground89. The Kinks 90. Radiohead91. The Scorpions 92. Kansas93. Iron Maiden 94. Motorhead95. Judas Priest 96. The Orb97. The Cure 98. Coldplay99. Slayer100. Black Eyed Peas
51. Rage Against The Machine 52. Sly and the Family Stone53. The Clash 54. Tool 55. Journey 56. No Doubt57. Creedence Clearwater Revival 58. Deep Purple59. Alice In Chains60. Orbital61. Little Feat62. Duran Duran63. Living Colour 64. Frank Zappa and the Mothers of Invention65. The Carpenters 66. Audioslave67. The Pretenders 68. Primus69. Blondie 70. Black Sabbath71. Lynyrd Skynyrd 72. Sex Pistols73. Isaac Hayes and the Movement74. R.E.M.75. Traffic 76. Buffalo Springfield77. Derek and the Dominos 78. The Jackson Five79. The O'Jays 80. Harold Melvin and the Blue Notes81. Underworld 82. Thievery Corporation83. Motley Crue 84. Big Brother and the Holding Company85. Blind Faith 86. The Animals87. The Roots 88. The Velvet Underground89. The Kinks 90. Radiohead91. The Scorpions 92. Kansas93. Iron Maiden 94. Motorhead95. Judas Priest 96. The Orb97. The Cure 98. Coldplay99. Slayer100. Black Eyed Peas
Best Bands - AVRev.com
Best Bands - AVRev.com
1. Led Zeppelin 2. The Beatles3. Pink Floyd4. The Jimi Hendrix Experience5. Van Halen6. Queen7. The Eagles 8. Metallica9. U2 10. Bob Marley and the Wailers11. The Police 12. The Doors13. Stone Temple Pilots 14. Rush15. Genesis 16. Prince and the Revolution17. Yes 18. Earth Wind and Fire19. The Bee Gees 20. The Rolling Stones21. The Beach Boys22. Soundgarden23. The Who24. Steely Dan25. James Brown and the JBs 26. AC/DC27. Fleetwood Mac 28. Crosby, Stills, Nash and Young29. The Allman Brothers 30. ZZ Top31. Aerosmith32. Cream33. Bruce Springsteen & The E Street Band 34. The Grateful Dead35. Guns 'N Roses36. Pearl Jam37. Boston 38. Dire Straits39. King Crimson 40. Parliament Funkadelic41. Red Hot Chili Peppers42. Bon Jovi43. Dixie Chicks 44. Foreigner45. David Bowie and The Spiders From Mars 46. The Talking Heads47. Jethro Tull 48. The Band49. The Beastie Boys 50. Nirvana
1. Led Zeppelin 2. The Beatles3. Pink Floyd4. The Jimi Hendrix Experience5. Van Halen6. Queen7. The Eagles 8. Metallica9. U2 10. Bob Marley and the Wailers11. The Police 12. The Doors13. Stone Temple Pilots 14. Rush15. Genesis 16. Prince and the Revolution17. Yes 18. Earth Wind and Fire19. The Bee Gees 20. The Rolling Stones21. The Beach Boys22. Soundgarden23. The Who24. Steely Dan25. James Brown and the JBs 26. AC/DC27. Fleetwood Mac 28. Crosby, Stills, Nash and Young29. The Allman Brothers 30. ZZ Top31. Aerosmith32. Cream33. Bruce Springsteen & The E Street Band 34. The Grateful Dead35. Guns 'N Roses36. Pearl Jam37. Boston 38. Dire Straits39. King Crimson 40. Parliament Funkadelic41. Red Hot Chili Peppers42. Bon Jovi43. Dixie Chicks 44. Foreigner45. David Bowie and The Spiders From Mars 46. The Talking Heads47. Jethro Tull 48. The Band49. The Beastie Boys 50. Nirvana
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