Baroque and Roll

James Byrd - Byrd's Bolero No.46 Mvt.3 now on youtube

2010-04-30T22:31:00.002Z

Dean Guitar issue Chris Impelliteri signature model

2010-04-24T22:51:00.003Z

Not the look we'd expect but nonetheless nice to see a company finally giving Chris a signature model.

All the info at http://www.deanguitars.com/impellitteri_signature.php

James Byrd in Frank Marino tribute

2010-04-24T22:47:00.002Z

Arguably the genre's finest player James Byrd has made available the track 'The World Anthem' which saw him cover the Mahogany Rush classic - first rate playing as ever from Byrd.

Mistheria returns with all star lineup

2010-04-24T22:44:00.001Z

Six years on from his last studio album ‘Messenger Of The Gods’ keyboard virtuoso Mistheria is hard at work with the recording of his new 11 track neo-classical / progressive metal album entitled ‘Dragon Fire’ set for release in the second half of 2010 (tbc).

Mistheria, the keyboardist of choice for Bruce Dickinson on the ‘Tyranny Of Souls’ album, has pulled in a number of great names for 'Dragon's Fire' in vocalists John West (Artension/ex Royal Hunt), Mark Boals (ex Malmsteen), Rob Rock (Impellitteri), Lance King, and Titta Tani (Astra). Guitars come courtesy of George Bellas (Ring Of Fire, Mogg/Way), Roger Staffelbach (Artension/Angel Of Eden)),Neil Zaza and Emir Hot. The rhythm section comprises of drummer John Macaluso (ARK) and bassistDino Fiorenza.

Some working track titles for the album include ‘Fire & Flames’, ‘Killing The Pain’, ‘The Power Of One’ and‘Chopin Fantasy’ with the rough demos already showing this will be an essential release for fans of early Artension, classic Malmsteen and Symphony X.

Last week George Bellas recorded all his guitars and John Macaluso is currently in the process of tracking his drums and has just checked in with the following, "I just did half the tracks for Mistheria's album and it came out amazing! Over the top with heavy groove and orchestrated kicks everywhere. I've got a really fat drum sound, its like Bonham playing double bass in an orchestra. You will dig it I think!".

More updates on the progress of ‘Dragon Fire’ to follow soon.

Web Links
www.mistheria.com
www.myspace.com/mistheria

George Bellas - new album coming in July

2010-04-24T22:41:00.002Z

GEORGE BELLAS NEW ALBUM IN JULY

In the beginning there was nothing... And then there was light!

The Dawn Of Time

Fifteen billion years later George Bellas presents to you an epic collection of instrumental songs inspired by the universe, how it was created, and from where and what it came from.

The material on this album is a stylistically diverse collection of shorter 3-5 minute songs with a total running time of 80 minutes. Some of the songs are in a complex progressive style, and others are in a more traditional neoclassical style. An extreme amount of attention went towards obtaining the highest quality sound for each instrument. The guitar, bass, drums and keyboards all sound clear, open, dynamic and very organic. And once again, Marco Minnemann recorded some absolutely phenomenal drum performances.

"The Dawn Of Time" will be released July 16, 2010 on Lion Music.

Yngwie dumps DiMarzio and joins Seymour Duncan

2010-01-12T00:09:00.002Z

After literally years of association with DiMarzio, Yngwie quit towards the tale end of 2009. Only now after weeks of speculation has his new pickup partner been introduced - enter Seymour Duncan. Anyone wanna bet this is about the $$$?

SEYMOUR DUNCAN PRESS RELEASE

When Yngwie J. Malmsteen set out on a quest to bring his tone to a higher level, he turned to Seymour Duncan. The result of hundreds of hours of intense tone pursuit is the YJM Fury: only available from Seymour Duncan.

Application
Hum-canceling single-coil-sized pickup based on our original Stack® pickup design. Recommended for rock, neo-classical, shred, hard rock, power metal, and heavy metal.

Description
The bridge pickup is aggressive and handles Yngwie's hard-hitting chordal onslaught. The neck pickup balances Yngwie's fluid left hand technique with his broad mix of right hand pick attack for a tone that's sweet and fluid, but with great articulation and responsiveness to dynamics.

Complete setup
The YJM series includes a dedicated bridge pickup and a separate neck/middle pickup. Pickups can be purchased individually, in a three-pickup set, or in a pre-wired pickguard ready to drop into your Strat guitar with an 11-screw hole "USA" pattern. The loaded pickguard includes a "no lube" volume potentiometer that meets Yngwie's demands for a very fast and responsive pot.

Guitars
The YJM Fury will directly retrofit most single-coil equipped guitars. Though originally designed for a Fender® Strat with a scalloped maple fingerboard, the YJM Fury will work well with any bolt-on guitar that utilizes traditional single-coil-size Strat pickups. The YJM Fury is the same pickup that Fender installs in their YJM Strat guitars.

Available Mods
Available in off-white, white or black.

Iron Mask - Shadow Of The Red Baron out next week

2010-01-08T01:29:00.004Z

A huge release for 2010, the third album from Iron Mask and killer from start to finish by all accounts goung from a great review at http://www.virtuosityone.com/ironmask_redbaron.htm

Keyboardist Updates

2010-01-08T01:21:00.003Z

Vitalij Kuprij joins Trans Siberian Orchestra
Artension / Ring Of Fire pianist and keyboard player Vitalij Kuprij joined the Trans Siberian Orchestra, visit the official site http://www.trans-siberian.com/ to read recent news and to see the concerts date so you can see Vitalij on stage in your city.

Vitalij will be in tour for the next months and he is very excited to be part of this great musical experience... he will wait for you to see during concerts!

For more info and concerts dates please check out: www.trans-siberian.com

A new VK solo album is expected sometime in 2010 on Lion Music.

Mistheria working on new solo album
Italian keyboard virtuoso Mistheria (Bruce Dickinson, Angel Of Eden) is working on material for a new solo album with guest spots rumored to include Roger Staffelbach, Emir Hot and George Bellas plus vocals from John West (Artension, ex Royal Hunt), Titta Tanni (Astra). More news on this coming soon.

GEORGE BELLAS GEARS UP TO RELEASE 'THE DAWN OF TIME'

2010-01-08T01:11:00.003Z

Promising a return to more neo-classical waters (along with the usual progressive offerings) George Bellas is set to release his new solo album "The Dawn Of Time" within the next few months on Lion Music (release date tbc).

Press Release:
Combining elements of Romanticism and Futurism with mind boggling drum performances by Marco Minnemann, and guitar, bass and keys performed by George Bellas, "The Dawn Of Time" is an album brimming with exceptional musicianship and ultra unique writing.

Michael Troy (archived interview)

2009-09-03T21:02:00.001Z

Michael Troy Interview
24th February 2008

Hi Michael, many thanks for agreeing to this interview. You are the first keyboardist to be interviewed at www.baroqueandroll.com so may I congratulate you on this first of all.
MT: Thanks so much. I appreciate it.

You have recently gone from relative obscurity to grabbing the prestigious keyboard slot on the last leg of Yngwie Malmsteen's "Unleash The Fury" world tour. How did you get the gig with "the maestro"?
MT: Lol...I was in the "right place, at the right time".

The Malmsteen gig must be the most coveted slot for a keyboardist of your style, how was it playing the classic keyboard lines of Jen Johansson, Mats Olausson and Derek Sherinian?
MT: One of the most rewarding, exhilarating experiences of my life. A dream come true for me.

Was it daunting to step into the shoes of these legends as it where?
MT: Oh sure! I'd be lying if I said it wasn't. I was still playing with Star Wars figures when Jens was making his mark in Rising Force with Yngwie and of Yngwie's past keyboard players, he was my biggest influence. Not in regards to soloing style, but more the Toe-to-Toe duels and the general vibe of that whole thing. Mats influenced me too later on in his really tight and consistent accompaniment style.

Where you quite familiar with a lot of the Yngwie keyboard parts prior to getting the gig?
MT: I've been really into Yngwie's music since I was about 17, so yeah. Very familiar with the parts and also the role keyboards play in his music.

Did you get much rehearsal prior to the gigs and when and how did these take place?
MT: We had 4 days of rehearsal. We went over the assigned songs he had me learn and then Maestro focus's on anything he wants to change or that isn't quite right. What I mean by that is, I'd been playing a good bit of his songs for a long time but always as a variation for solo piano. I'd tend to play too far in the bass register with the left hand and a bit too high in the treble with the right. He likes it when you stay toward the middle and "fill it up" as he says. I have to say also, that it's really quite amazing to watch him direct a band and to be directed by him. He really has a gift for it and I couldn't imagine it any other way. He's a consummate band leader, no doubt about it.

Where you allowed to put your own inflections or is Yngwie pretty strict in what he expects from his keyboardist?
MT: As far as playing the accompaniment keyboard parts, yeah, it's pretty scripted but not uncomfortably so. He allowed me to do my own improvised synth solos during songs Far Beyond the Sun and Rising Force.

What material did you play? Where there any unexpected tracks?
MT: Some of the songs we did were:
Rising Force
Demon Driver
Badinere
Cracking the Whip
Adagio
Far Beyond the Sun
Paraphrase
Dreaming
Gates of Babylon
Baroque & Roll
Exile
Crown of Thorns
Trilogy Suite into Red house
You Dont Remember, I'll Never Forget
Black Star
Cherokee Warrior
I'll See the Light Tonight

Yngwie is full of surprises and may change the set list at any time so you've got to be ready. He really keeps you on your toes.

How was it trading solos with Yngwie on tracks like Far Beyond The Sun and Rising Force?
MT: In a word, MAGICAL...I remember thinking..."is this really happening" lol...

What keyboard did you use for the gigs and what sort of sounds do you employ?
MT: I use ONLY Korg Triton Classic 76 key keyboards and Korg Triton Studio 88 key keyboard models. As far as sounds themselves go, whatever sounds (often called "Patches") Yngwie used in the recording is what I strive to get the closest to unless directed to do otherwise. All of my patches are combinations of different sounds (also called voices) so there is a certain amount of keyboard “pre-production" before a show.

What were the most demanding tracks for you as a keyboardist and what provided the most pleasure?
MT: The most demanding...well, It's all demanding, so you can never let your guard down and I always push myself to play my very best. As far as favourites...oh man, where do I start lol...I love it all so much, my favourite instrumentals we performed were Adagio/Far Beyond The Sun, Paraphrase, Baroque & Roll, Trilogy Suite. My favourite "vocal" songs we did were: Rising Force, Crown of Thorns and Cherokee Warrior.

What were your personal highlights from the dates in South America?
MT: There are soooo many...just a few were getting to travel (which I love by the way) to South America and seeing how warm and friendly everyone was down there. Yngwie's South and Central American fans are awesome. There was even a guy that flew ALL the way from Scotland to attend Yngwie's final show of the tour in Mexico City!! And of course every aspect of playing for/with the Maestro and the rest of the band. I have to say also how great Yngwie and everyone in the band were as well as Yngwie's Tour Manager and Manager. All very friendly and professional, just such a wonderful experience all the way around.

Do you know if Yngwie will be using you on any future tours or his next album yet?
MT: It's possible...Im keeping my fingers crossed ;)

So lets go back, what made you take up the keyboard and who were your early influences?
MT: Well, I don't really know what made me start...I was just drawn to it. Earliest influences...Yngwie of course, Jon Lord of Deep Purple, and Jens (Johansson). I was also influenced by the heaviness of bands like Judas Priest, Iron Maiden, and Dio

How have these influences shaped your playing to where you are today as a player?
MT: Well, Yngwie is by far my biggest influence not only musically but also personally in his determination and perseverance. Had it not been for that positive influence, I definitely wouldn't be the player I am today. Heavy metal influenced me too of course as did the playing of Jon Lord, Jens and others. I'm basically a concoction of all my influences.

When did you realise you had a talent for the keyboards?
MT: I think I was about 12...by the way, I've never had a formal lesson and play entirely by ear.

What sort of bands have you played in prior to getting the slot with Yngwie?
MT: Cover bands of all kinds...I also played solo piano in lounges for several years in Las Vegas during my 20's.

Is music your main job or do you have to work a day job as many musicians do these days to keep the dream alive?
MT: I have played "for a living" already as my sole source of income during the time period when I was doing the solo piano gig thing.. right now I'm juggling a "day job" and Sessioning.

Have any classical works influenced you as a player, if so who/what and why?
MT: The funny thing is, most of my "classical" influence comes from Yngwie's classical influences since that is mostly what I listened to for many years. I am enjoying J.S. Bach "Greatest Hits" cd very much right now though in the past I've listened to mostly Liszt, Paganini (the caprices) and Beethoven. I really like strong melodies, pedal tones, diminished chords, and LOVE octaves.

Do you have any tips for aspiring keyboardists wanting to play in the metal/neo-classical genre?
MT: Well, the road to your goals can be very different for everyone and I don't believe there is any one "right" way...follow your instincts and remember, it isn't just about knowing a million licks and playing fast but playing with your ears and your heart also.

Anything else you would like to tell the readers of Baroque & Roll?
MT: Thanks so very much. Please stop by my NEW website at michaeltroykeyboardist.com and say hello!

Michael, many thanks for your time.
MT: Thank you Andy. It was my pleasure!

Web Links
www.michaeltroykeyboardist.com

www.myspace.com/michaeltroy

News archive

2009-09-03T20:59:00.000Z

February 2009
JOE STUMP - VIRTUOSTIC VENDETTA COMING ON APRIL 17 ON LION MUSIC

Joe Stump is one of the most intense and over the top guitarists on the planet. His maniacal guitar driven releases are amazing displays of power and jaw dropping technical command. He was named by Guitar One Magazine as one of the ten fastest shredders of all time and by Guitarist as one of the top 20 shredders of all time. The American guitar hero returns with his most diverse and complete solo effort to date with “Virtuostic Vendetta”. Not only a killer shred record but also a great all around guitar driven release, blending neo-classical speed metal, European influenced shred and old school hard rock into a great combination of playing and tracks that will appeal to a wide range of guitar enthusiasts and metal fans worldwide . Great melodies, killer riffs and from the heart emotionally drenched playing are combined with all the insane shredding you’d expect making this the most exciting record of Joe’s career. Proclaimed by many music experts as the ultimate guitar monster you’ll hear why words like Godlike, shred master, brilliant and many more have been used to describe the Shredlord’s unparalleled playing style.

More details on the album coming very soon.

January 2009

IMPELLITTERI TO UNLEASH "WICKED MAIDEN" IN FEBRUARY

February 25th 2009 sees the Japanese release of the new Impellitteri album "Wicked Maiden". The new album marks the return of Rob Rock on vocals. The official press release reads...

Wicked Maiden re-unites Impellitteri with long time lead vocalist and writing collaborator Rob Rock. The lead guitarist and vocalist have created 5 great metal records to date. Impellitteri have built a strong fan base throughout the world selling over 1 million records; “Not bad for a band that is virtually ignored by the mainstream”. The group has released numerous records, performed amazing live shows, and worked with some of the greatest producers and industry people in metal.

Chris Impellitteri is heralded as one of the world’s greatest guitar shredders. He has won the Best Rock Guitarist Award for his guitar soloing. He has been branded one of the fastest guitarist’s in the world, (Officially voted 2nd fastest guitarist in the world by “Guitar One” magazine; and “Guitar World” magazine recently listed Chris Impellitteri within their top 50 fastest guitarists of all time). In addition to the fast crazy guitar soloing, Chris Impellitteri places a strong emphasis on melody, harmony, and creating catchy inspiring guitar riffs. He is a well rounded musician who enjoys playing all styles of music, from metal to classical.

Rob Rock is one of the most exciting and energetic singers in heavy metal. Rock can sing virtually any style of music. His vocal range has often been compared to legendary metal singers Bruce Dickinson (Iron Maiden), and Rob Halford (Judas Priest). Rob Rock possesses a unique ability to scream in the stratosphere, all the while singing in a very melodic overtone. His Vibrato and use of Harmonies has created a signature vocal style. Lastly, Rock has an innate ability to write lyrics that have depth and meaning. He is definitely an original lyricist.

Bassist James Pulli is known for his Driving Bass lines reminiscent of Black Sabbaths Geezer Butler. He creates a strong foundation for the band with his signature style. His bass is deep, punchy, and supports the crazy guitar lines and drumming insanity of Impellitteri. In fact, it is Pulli’s Bass line’s that hold the rhythm section together.

Brandon Wild is one of the heaviest, fastest, and exciting drummers living in a pro tools generation. His hard hitting antics coupled with the ability to groove allow Impellitteri to convey feeling within their metal madness. Brandon hits hard, has machine like feet, and keeps the band in time like a computer generated metronome.

The new Record: “Wicked Maiden” Wicked Maiden is Impellitteri’s metal masterpiece. The band challenged the boundaries of conventional metal by utilizing music theory, technique, innovation, technology, and creative story telling. The result is an intense guitar driven metal album that will satisfy the appetite of any true metal fan. Wicked Maiden features memorable guitar riffs, fast shredding guitar solos, amazing screaming vocals, exciting lyrical content, and a mean heavy rhythm section.

The Record took 3 years to complete from the writing stage through the mixing and mastering stage. Engineer and co-producer Greg Reely worked tirelessly to create a sonic freight train.

The record was recorded at the following recording studios:
Village Recorders in Santa Monica CA;
Impellitteri Studios in Thousand Oaks CA;
Redroom Audio in Orlando Florida,
Mixed at the Green Jacket in Vancouver Canada.

The record was mastered by legendary engineer George Marino in New York City.

Impellitteri welcome all new fans and friends to their first official MySpace Page !!

December 2008

LATEST NEWS AND YEAR END ROUND UP
The last few months have seen no action from Baroque & Roll, the reason? I have been too busy in my private life to give it the attention it really deserves, plus to be honest not a great deal has actually happened except...

YNGWIE'S PERPETUAL FLAME
What should have been the years highlight has turned out to be one of the year's biggest disappointments for me. The main problem? A lack of killer material, too much rehashing of old stuff and most of all Tim Owen's on vocals. To these ears Owens isn't the man for the Malmsteen sound that many fans hold dear to their hearts. The mix is also not as strong as it could be and ultimately the album has very little staying power. A let down.

ALEX BEYRODT'S VOODOO CIRCLE
Known for his work in Silent Force, German guitarist Alex Beyrodt has a smoking new band in Voodoo Circle, set firmly in the classic Rising Force / Rainbow mold, this is the type of album Yngwie should be releasing - first and foremost GREAT songs, great melodies, nice variation and excellent guitar work. Check it out.

CONCERTO MOON - RISE FROM THE ASHES
The Japanese neo-classicalists saw their new album released, unfortunately its somewhat of a mixed bag and doesn't build upon the excellent work on their previous album "After The Double Cross". Good guitar work as ever from Norifumi Shima, but the songs aren't as good as before.

ULI JON ROTH - UNDER A DARK SKY
The early pioneer of the neo-classical style delivered an album of great guitar work, but uneasy vocal lines (despite the prostigious talents of Mark Boals and Liv Vandall singing)... but then do we really buy Uli album's for the vocals?

2009 - WHAT TO EXPECT?
Well early on we get the new album from Impellitteri which should hopefully be killer given the wait for it. George Bellas is releasing a progressive (with a little neo-classical in) epic entitled "Step Into The Future" in January on Lion Music, the album is actually 1 track clocking in a whopping 76 minutes! The new Joe Stump album "Virtuostic Vendetta" should see release in the first quarter of 2009 (again on Lion Music), having been given an early hearing I can tell you folks this is arguably Joe's best work to date. Time Requiem mainman and keyboard whiz Richard Andersson may well return in 2009 with a new album, having taken some time out to help his son launch his own music career we hope that we do get some new music from the mainman soon. Ark Storm may well serve up another slice of first class Japanese neo-cassical metal despite numerous tour dates in Japan, no word is in if work has begun on album number 4.

May 2008

ROB ROCK OFFICIALLY BACK IN IMPELLITTERI - NEW ALBUM "GOOD & EVIL" ON THE WAY

Chris Impellitteri has just posted the following at his official website.
Hello Friends,

First, I want to thank Guitar World magazine for including Impellitteri in their 50 Fastest Guitarist of All Time article. That was really nice of them to include me. I am definitely guilty of playing hyper-speed all too often.

However, many people tell me I am the guitarist who probably started the craze of hyper-speed shred with the Impellitteri Black EP-- (oops-- HA! ) SHRED ON !!

Now on to our new record titled "Good and Evil". The new music is being mixed in Vancouver with Greg Reely (Devil Driver, Fear Factory, etc..) . I can say that this is by far the most amazing recording I have been involved with. It is filled with amazing riffs, fast shredding solos, screaming vocals, and of course a brutal rhythm section.

The goal of this record was to make a historic album that will rival Van Halen 1, Ozzy's Blizzard of OZ, Pantera - Cowboys from Hell, Yngwie's Rising force, Metallica's Master of puppets, and even new artists like Children of Bodom and Avenged Sevenfold. And so, Impellitteri "Good and Evil" is my attempt to rival the best. Hopefully, we have done our job well !! It was not easy.

And now for all of the patient fans --- ROB ROCK is officially back in the band.

Rob Rock is officially back in the band!! The king of scream and melody is once again fronting Impellitteri.

Our fans have eagerly anticipated Rocks return since he left to pursue a solo career in 2000, so to their delight we are officially announcing the return of Rock. I am personally excited at Rob's contribution on this record, he is singing like a madman, filled with rage and beautiful melody. It should please all of the metal heads around the globe.

Oh, and Impellitteri will be creating their first official My Space Page shortly.

Cheers,

Chris Impellitteri

Press Release : DEAN CASCIONE – NEOCLASSICAL SHRED GUITARIST "GUITAR CHOP SHOP" RELEASED

At the forefront of technology and an innovative force in today's Shred Guitar Scene, Dean Cascione presents his debut instrumental album Guitar Chop Shop. Dean is an American Guitarist who has studied under 6th top shredder in the world (Voted by: Guitar One Magazine) Joe Stump; and collaborated with world renowned Guitar Virtuoso George Bellas on the cd. Dean is also an Instructor at Shred Academy and Randy Ciak's High-Tech Guitar Site where he reaches out and mentors aspiring guitarist throughout the globe.

In Guitar Chop Shop, Dean digs deep into the neo-scallops and mixes melodic hooks with killer fret board assault that even the most demanding shred enthusiasts will enjoy. From fierce pedal tones to multi-note sweep arpeggios, Guitar Chop Shop is packed with plenty of new shred that’s not overcooked. In writing all the songs for Guitar Chop Shop, the main idea was to write Neoclassical genre songs that incorporate a balanced mix of shred and cool melodic hooks that can be taken away with you.

Joe Stump has described Deans abilities as: "Dean is quite a talented individual & quite an accomplished player and composer as well. He has a real nice command over the instrument and mixes his killing technique with a great musical sense and wonderfully crafted guitar tones!!".

Dean Cascione composed every guitar piece one note at a time and performed all of the guitar passages. His tone has been described as organic sounding and natural. Dean recruited drummer extraordinaire Guillaume Sylvain to perform all the drum parts. Guillaume's pounding performance's are nothing short of amazing and Dean believes his approach gives GCS a hard edge. Jay Menard and Randy Ciak wrote & performed all the orchestration which truly enhances the guitar passages keeping the listener focused on the revolving melodies .Tenor, Gabriel Langelier (Of Canadian Powermetal Band Icewind) collaborated with Dean and is featured on the bonus track Brother which showcases Gab's, evil yet soaring angelic voice. It was Gabs voice which granted "Brother" life. George Bellas has described the music of Guitar Chop Shop as "Very enjoyable to listen to , The song Sunrazor spoke to my soul". Out of the gate, Guitar Chop Shop is packed with plenty of new shred that's not overcooked.

CONCEPT & INSPIRATION
The concept and inspiration behind Guitar Chop Shop was to create technical songs, neoclassical in nature that contained simple melodies, in which each tune could capture and appeal to a wider audience. Expect Dean's influences to be heard, as well as new melodic technical fret board prowess to emerge.

TRACK LISTING
01. Alba
02. Molto Veloce
03. Sunrazor
04. Guitar Chop Shop
05. Brother
06. The Monk
07. Driven
08. Farewell
09. Brother Feat Gabriel Langelier

Running Time 27:46

MUSICIANS
Dean Cascione : All Guitars
Guillaume Sylvain: Drums
Jay Menard|Randy Ciak: Orchestration
Gabriel Langelier: Vocals

CREDITS
Composition: Dean Cascione
Production: Dean Cascione & Jay Menard
Mixed | Master: George Bellas & Jay Menard
Artwork | Design by Dean Cascione & Weiye Yin
Drums & Keys Recorded at Pilgrim Studios (Canada)
Guitars Recorded at Dead Horse Hill Studios (USA)
Mastered at George Bellas Studios (USA)
Published by Dean Cascione 2008

LINKS
www.deancascione.com
www.myspace.com/deancascione

February 2008

New Interview with Michael Troy
Baroque & Roll caught up with Yngwie's newest keyboardist for an indepth conversation, check it out here.

January 2007

George Bellas new solo album "Planetary Alignment" released 15th February on Lion Music

One of the most prolific and innovative composers of our time, world renowned Guitarist and Composer George Bellas presents his latest instrumental album "Planetary Alignment". This album is so uniquely crafted that most listeners will find many composition elements they have never heard before. The style of the album is extremely modern and very progressive, it does not contain any neoclassical songs that George Bellas is also reputable for, but the album stays completely within the progressive realm.

As usually the case on George Bellas releases, George composed everything one note at a time and performed all of the instruments, plus had Drummer extraordinaire Marco Minneman perform the drum parts. Marco's drum performance's are nothing short of awe inspiring. The time signatures and rhythms contained on the album are extremely complex which Marco brought to life with his organic and immaculate drumming style. Leading guitar virtuoso George Bellas is back with his most modernly progressive solo album to date - expect the unexpected.

The concept and inspiration behind Planetary Alignment was the science of astrophysics. Each song was based on a particular subject ranging from the smallest matter known to man, to the largest and distant most objects in the universe. The goal was to compose ultra-modern music using scales, chords and rhythms not heard too often in music. The main interval the songs are all based on is the Tritone, with the root tone as middle C. It is quite a mystery where inspiration comes from when one is creating music, and it seems to only all come together when one is well practiced, emotions are stirring and the planets are aligned.

COMPOSITION ELEMENTS
CHORDS - Bitonal, Tritonal, Quartal, Quintal, Secondal, Pyramid Chord, Scriabin's Mystic Chord, Vienesse Trichords, Mother Chord, Grandmother Chord, Split Note Chords, Chord of the Minor23rd and more.
RHYTHM - Odd Meters, Polyrhythms, Polymeters, Pyramid Rhythms, Fibonacci Number Series Meters, Contracting and Expanding Meters and more.
SCALES - Numerous (no name) scales from Nicolas Slominski's Thesaurus, Scale of A. Therepin, Verdi's Enigmatic, Wholetone, HalfWhole, Pentatonics, Melodic Minor Modes, Harmonic Major and many more.

Planetary Alignment was initiated using only rhythmic motives, and then later on scale choices were determined while composing the melodic and harmonic content. Most of the musical elements appearing on this album have never been used on previous George Bellas albums and offer a very fresh, ultra-modern sound.

Most all of the compositions revolve around a Middle C root while employing various tritone based elements. The production on the album was kept dry and natural sounding, with effects used quite sparingly.
Expect the unexpected and enjoy listening to what may be the most progressive release by George Bellas.

GEORGE BELLAS DISCUSSES THE TRACKS

Color By Numbers
This song was the start of creating numerous rhythmic motives and then adding notes (color) to the motives. This method was then used for the entire album.
This song contains many improvised guitar solos and has some nice dynamic contrast between the various sections.
GUITARS USED: Stratocaster

Encoded In Light
This song's concept was inspired by the idea of photons and what type of information can presently, and may in the future, be sent through this fastest known particle to man. We are currently using light to transmit sights and sounds, but perhaps in the future an entire DNA strand.
GUITARS USED: Stratocaster

Subatomic Particles
This song's concept was inspired by the smallest bits of matter known to mankind. Everything we know of in the universe contains these essential, tiny building blocks of matter. What is keeping it all together, and why isn't it all flying apart like the large objects in the universe?
GUITARS USED: Stratocaster, Baritone Guitar

New Worlds Discovered
This song's concept was inspired by the thought of discovering new worlds inhabited by intellegent beings. The fact that there are billions of other galaxies which harbor their own countless planets makes it seem that if we are the only ones in the universe that there is a lot of wasted space out there. Thanks to Carl Sagan.
GUITARS USED: Flying V

Parallel Universe
This song's concept was inspired by the idea that our known universe is one of many that are differentiated by unique actions we all choose to make. These implications are supported by factual astronomical observations.
Is there another you?
GUITARS USED: 7-String & Stratocaster

Overlapping Dimensions
This song's concept was inspired by the fact that Scientists are finding evidence of extraterrestrial presence in higher dimensions all around us even overlapping our immediate environment overlapping the Physical Universe. The idea is that our real being exists in a higher dimension and interacts with the visible one we know of.
GUITARS USED: Flying V

Escape Velocity
This song's concept was inspired by the amount of energy that is required to escape an object's gravitational force. The amount of velocity required to leave Earth is much less than one would need to escape the force of much larger objects, and ultimately no velocity that can escape a black hole.
GUITARS USED: Les Paul

Gravitons
This song's inspiration is drawn from the particles that carry the gravitational force. Gravitons are supposedly massless particles, which would travel only at the speed of light. When these particles were intercepted, and re-exchanged, gravity would be the intended result. A Graviton is a Boson particle and is theorized to interact with Quarks and Leptons.
GUITARS USED: Flying V

Planetary Alignment
If several planets are orbiting the sun at known speeds and current positions, how many years will it be before those planets are perfectly aligned and what effects will it have? Will the magnetic and gravitational forces be so strong as to create floods, earthquakes and other catastrophes? The next planetary alignment is expected to occur in the year 2438.
GUITARS USED: Flying V

Supersymmetry
This song's concept was inspired by the mathematical symmetry relating to bosons and femions. AKA an attempt of a Unified Field Theory using acceleration in place of gravity.
Force = Mass multiplied by Acceleration (F=MA).
GUITARS USED: Stratocaster

Track Listing
01. Color By Numbers
02. Encoded In Light
03. Subatomic Particles
04. New Worlds Discovered
05. Parallel Universe
06. Overlapping Dimensions
07. Escape Velocity
08. Gravitons
09. Planetary Alignment
10. Supersymmetry

Running Time 61:05

Personnel
George Bellas - Guitars, Bass & Keys
Marco Minneman - Drums

Credits
Composed by George Bellas
Produced by George Bellas
Mixed and Mastered by George Bellas
Artwork and Design by George Bellas
Recorded at Bellas Music Studio
Published by Bellas Tune Factory, BMI

Web Links
http://www.georgebellas.com
http://www.myspace.com/georgebellas

George Bellas Interview (archive)

2009-09-03T20:56:00.000Z

George Bellas Interview
30th November 2007

George Bellas is one of the worlds most acclaimed virtuoso guitarists. Constantly pushing the boundaries of what constitutes neo-classical guitar his new band Palace Terrace with their debut album "Flying Through Infinity" bring another element to the genre with this exciting and musically rich offering. We tracked down George to discuss the album in depth.

George, many thanks for agreeing to this interview.Its great to finally hear some new music from you, its been quite a wait! In the 4 year gap since "Venomous Fingers" you've formed your debut vocal band project Palace Terrace in your own vision. When did the seeds of Palace Terrace start and how long has the project taken from conception to completion on your end?
Palace Terrace was formed shortly after releasing my last instrumental album "Venomous Fingers". I had the music composed and arranged for "Flying Through Infinity" within a year after my previous solo release. Once I had the whole album together I had thought about what I wanted to do and envisioned turning it into a massive vocal oriented album. At that point it was time to find a singer. There were several choices I considered, but there was only one that I thought could truly fit the bill, and that was vocalist Jonathan Marshall. It was an early Sunday morning that I put the call into Jonathan and presented to him my ideas. When initially speaking with Jonathan I explained to him that I had this album and concept for Flying Through Infinity ready to go just waiting for vocals to be added. I asked him if he would be interested and he replied very enthusiastically "yes". It was then that the core of Palace Terrace was born. I then sent Jonathan the complete album and we began working on the lyric and vocal arrangements. Over the next couple of years we recorded and fine tuned every single vocal part. The actual vocal production took a while longer than I had originally anticipated due to each other's schedules and refining parts, but the end product came out very satisfactory to me. When Jonathan and I were recording there was great chemistry between us and we clicked seamlessly capturing some real magic in the process.

Having had the chance to absorb the music over the last few weeks I can say its a truly magnificent body of work. Extremely advanced in composition, harmonisation and structure. I will admit it took me a number of listens to get a hold on what the album is about, and it was then the album took on a life with a vibe that is quite unique and I am totally hooked! How did the basic track structure form and how did you take those from what we hear today on the album?
The writing process for "Flying Through Infinity" primarily used 3 methods. One method began by composing rhythmic motives and building melodic and harmonic structures on top of them. Method two would begin with a melodic motive and then harmonically brought to life with choices based on each melodic tone. The third method used harmonic progressions as the basis for developing improvisations, melodies and rhythms around. After the foundation of all the songs were formed I added the vocal and guitar improvisations as well as adding carefully composed vocal melodies, counterpoint and harmonies, all of which were composed on staff paper. I spent a grueling amount of time on the compositional process of the vocal lines and Jonathan's improvisations -- carefully reviewing, redoing and making sure that every single note worked perfectly. After all that was complete I reworked many of the vocal and instrumental arrangements. The entire production was indeed quite daunting, but I strive for perfection with a precise vision and need to make sure that every aspect of a project is the way it should be.

The album I believe is a concept story, can you tell the readers what this story in and how the lyrics work with the music.
I initially sent Jonathan the "Flying Through Infinity" concept along with the seeds to each individual song. We would then both contribute lyrics based on what we each thought the song's overall idea should project. For example, "The Tenth Dimension" is based on a higher dimensional plane that scientists and mathematicians have proven to exist. But to visit there... Is it real? What will we find? Will we find loved ones that no longer belong to our ever familiar three dimensional world? "No one is sure and no one really knows if it's for real..."

You have a superb vocalist in Jonathan Marshall. How did you hook up with Jonathan and what did he bring to the project?
I have known Jonathan for two decades and have worked with him early on. We have always wanted to do an album together and this was the perfect opportunity for it. He did a fantastic job and we sure had a lot of fun making the album.

You wrote all the music, performed all the guitars, bass, keyboards, orchestration, did the composition and arrangements not to mention production etc. This must of been quite exhausting, how did you manage to stay focused during this undertaking?
It was definitely an enormous amount of work that required an extremely disciplined focus on my part. I had a vision and needed to make sure that every aspect of the production came out the way I had originally conceived. I enjoyed the huge undertaking. It gives me a break from each task at hand and offers me a fresh look at each element. I wouldn't have done it any other way.

Sasha Horn's drum work is often quite complex, what were you looking for from Sasha and where did you find him?
Drummer Sasha Horn is an exceptional talent and a really great person to work with. I have only recently been introduced to Sasha from a student of mine. When I approached Sasha about working together I explained to him that I had all the drum parts composed for this massive album and now needed a live person. I am known to compose very complex odd-meters and intricate rhythms. As challenging as they may be Sasha does a great job at bringing them to life.

What struck me is that a number of these songs are predominantly led by the orchestra which creates a solid foundation to start with. Did you start with the orchestration of the tracks before moving onto other instruments?
I had most all of the orchestration completed before recording any vocals or guitar parts. After everything else was recorded I went back and elaborated even more on the orchestration. It is a lot of fun working with a large palette of sounds rather than just a typical rock band context.

What was your aim with how your guitar fitted into the bigger picture with this album?
I wanted my solos to sparsely weave in and out of the vocal lines and wanted my main solos to have enormous feeling in each and every note. It was first and foremost about passionate guitar playing, not just speed for speed's sake. I wanted every note to say something, to sing, cry, laugh and be angry when it was felt.

Your playing is the best I have ever heard it. Did the music call for you to extend your own abilities on the instrument and what was the biggest challenge you faced with this material?
Thank you very much! I am always striving to improve my craft by constantly studying, practicing and creating. The music on this album was really no different in my approach with the guitar other than leaving plenty of room for the vocals.

Your guitar sound is great - clear, smooth, focused with great clarity. What guitars/amps/fx did you use and what were you looking for in your tone this time around?
On the "Flying Through Infinity" album I used my longtime ever faithful Fender 1957 Stratocasters, Marshall JCM900 series amplifiers and a Tube Screamer. I use Dean Markley .010 - .046 gauge strings and no scalloped fretboards, although I do like scalloped boards but I have always used regular old fretboards. From my guitars and amps I then went into a Sure SM57 microphone --> Focusrite Red Series Mic Pre --> Apogee Rosetta 800 Converter and finally into an Apple computer via lightpipe on an RME PCI card. I monitor using Coleman Audio equipment and Mackie HR824 monitors.

The promotional material on the Lion Music website states that their is a number of highly complex time signatures such as 99/32, how do you go about writing in these time signatures let alone playing in them!?
That is correct. The first song on "Flying Through Infinity" has a section that uses a time signature of 99/32 time. The way I compose with these meters is in the same way I do for all my other music -- with staff paper and a pencil. After composing the parts I begin learning and counting parts on my guitar, which indeed can be quite challenging at first, but after much effort with counting it becomes very natural.

What do you think established George Bellas fans will get out of "Flying Through Infinity"?
Fans should enjoy the same style of writing they have grown to know me for (neoclassical and progressive), but the difference with this album is that it is vocal oriented. I have always written vocal scores and this is my first step in presenting them to the public.

How do you sum up the album now (since you completed it) and can we expect a follow up down the road at some point?
First and foremost it is a musical work, and no matter what the language barrier may be fans should hear and feel the deep emotions and intellectually stimulating aspects of the music. And yes I do plan on releasing more vocal oriented albums in the future.

I also see you have a new instrumental solo album due early 2008 entitled "Planetary Alignment", I will save my questions until I have heard it but what can George Bellas fans expect from this forthcoming release and how does it compare to your 3 previous solo albums?
My upcoming solo album entitled "Planetary Alignment" is the most modern and futuristic body of work I have ever released. There are so many compositional elements not found on any of my previous releases. Fans should really expect the unexpected. I really stretched my playing and writing abilities with this album. It is extremely progressive.

Anything else you would like to add to finish up?
I would like to thank all my fans around the world for listening to my music and all their feedback throughout the years. I already have an enormous amount of new music and look forward to many more years of releasing new albums for all to enjoy and hopefully connect with in some way.

George, many thanks for your participation.
Thank you Baroque and Roll for talking with me and also for bringing such a cool source of guitar oriented information to the fans.

For more information on my past, present and future projects, please visit:
www.GeorgeBellas.com
www.MySpace.com/GeorgeBellas
www.PalaceTerrace.com
www.MySpace.com/PalaceTerrace

Jonas Hörnqvist uploads new track!

2007-11-19T20:16:00.000Z

Treasure Land guitarist Jonas Hörnqvist has made a new solo instrumental composition avialbale at his myspace profile entitled "Phoenix Rising" which is taken from his forthcoming solo album. Jonas hopes to make this new album available in 2008, with the quality displayed here it sounds like it going to be killer!

Check out the clip at http://www.myspace.com/jonashornqvist

James Byrd premiers "Avianti Etudes"

2007-11-16T15:31:00.000Z

James Byrd has just made a live performance video available on his official website http://www.jamesbyrd.com/

The track is entitled "Avianti Etudes" and was recorded 6 to 7 years ago, yet now has seen the light of day. The track is a never before heard solo guitar composition and demonstrates just some of what the Byrd Guitars Super Avianti is capable of.

You can download the video at http://www.jamesbyrd.com/ (for optimum quality) or view the clip below.

For more information on Byrd visit:

http://www.jamesbyrd.com/ and http://www.byrdguitars.com/

Roger Staffelbach of Angel Of Eden interview

2007-11-09T13:23:00.000Z

Roger Staffelbach is best known as the guitarist in prog metallers Artension. However, with the band seemingly on hiatus Roger took this down time to form a band based around his own musical vision with Angel Of Eden being the result. Home to an impressive line up consisting of Carsten "Lizard" Schulz, Ramy Ali and Mistheria the band have see their debut album "The End Of Never" released on November 16th through Lion Music. We caught up with Roger to get a great insight into the making of the album and his new band, the state of play with Artension and much more.

Roger, congratulations on the debut Angel Of Eden release. Can you tell us what led to you forming the band and how you went about selecting the other musicians on the release?

Thanks a lot Andy. Ok, here we go. 2-3 Years ago I found myself facing many personal issues do deal with, besides going through the break-up and the divorce of my marriage, which pulled me down really heavily, I was time and again close to getting involved in other band situations, this for whatever reasons then never worked out at all, (having to deal with too many promises etc.) or the way it should have and the way I expected it to happen. I then realised I had to do something, I wanted and I had to move forward. I also decided that I wanted to work with people I hadn't worked with before.

So I decided to put together my own band. What I was not interested in was a project, as I had to deal with that issue way too long before. I was then contacted by Carsten, I was checking out his stuff and I totally liked what I heard from his previous works and from then on for me it was clear I wanted to work with him. Furthermore we get along very well and became close friends so we were ready to move on. First we were talking about Carsten to sing on 3 tracks, and we had the idea to work with different singers, but then I realised that this would limit the whole thing to a project and I did not want to be limited to this. Ramy as well as Ferdy who played on the 4 demo Tracks, who I also used for the final record, were recommended by Carsten and I was checking some of their stuff and also liked big time what they were doing, besides this Ramy and Ferdy are easy to get along with, which for me was equally important for all the guys involved in this, it makes everything so much easier, and I also think it shows if you listen to the final product.

Then getting the keyboarder was a bit difficult, it just didn’t work out for various reasons. To make a long story short, I simply never got any tracks, and as I was under pressure from the label regarding the deadline, I had look out for someone else. So I figured that Mistheria would be the guy, and as you see it worked out just great. I love his playing and furthermore we got along great from day 1. Furthermore I know Steve (Di Georgio) for some years already and I really wanted him to play on this one and he agreed to do it. So, at this point I'm really glad how everything has turned out for me.

What's the state of play with Artension and did this push you to forge ahead with a new band?

Regarding Artension, I of course would love to make another record, but whether this happens, I don’t know, but I do hope it does. Maybe there will be another one, but unfortunately I don’t know yet. And yes the current status of Artension of course was one of the reasons that led to the decision of forming my own band, that’s for sure. I just didn't want to sit home and wait for a call to make another record; it's a simple as that.

The album is a great mix of neo-classical, power and melodic metal. Does the music encompass all of what you like to hear in a band format?

Pretty much so. I'm heavily into Power Metal, Neo-classical and Melodic Rock, that’s exactly what I wanted to do with my new band.

When did the initial seeds of the tracks form and which songs came first?

For example Towards the Light is a track I wrote and recorded 3 Years ago in Memory of Shawn Lane and for the Shawn Lane Tribute, I just re-recorded this one. Lots of ideas were around for many years, but I never put them together as songs, and this was the heavy part for me. The first song besides Towards the Light I have finished was Into the Black, and then all the pieces came together step by step.

Over what time scale was the track written and did any songs undertake any changes through the writing/recording process?

I took me about 1 year to finalize all the songs. Once we had the Drums recorded I have not changed anything at all.

You have Carsten Schulz on vocals, what made you offer the gig to Carsten?

As I explained before I was checking the stuff he did with his other bands Domain and Evidence One, and I was heavily impressed especially with what he has done on the Tattooed Heart record. Furthermore I think he has a unique style, which makes him stand out. Besides this, Carsten as well as Mistheria and me share the same taste and passion of music.

The opening track "Angel Of Eden" has a great vibe and sets the tone for the album, how did you go about choosing this track to open the album?

This was the first track we recorded the vocal tracks for and I was just blown away how powerful the song sounded with these big vocal choirs, it had to be the title track, this was sure from this very moment.

"Dreamchaser" and "Into The Black" are rampant double bass drum assaults, what was your aim with these tracks?
I just wanted to do the music I always wanted to do, and this is straight forward, powerful metal. I always loved songs like 'Let it Ride', 'Into the Blue' and the really melodic songs like 'Into the Eye of the Storm' we did with Artension, I wanted to go somewhat this direction.

They should go down a storm live.

I definitely think so.

"Keys To Avalon" sees the tempo drop back for a melodic treat and it’s a great groove over which Carsten works his magic. What was the inspiration for this track?

This again was a track I was writing for another band I was meant to get involved with but again this cooperation didn’t work out, it's more in the Hard Rock Vein. So I figured this must be the song for Carsten, as he has this Hard Rock background way more than I have and I just worked out great.

The track is home to one of my favourite solos on the album, what did you look to get across in your solos on the album?

I basically didn't think about this too much. I knew the feel of the songs so it was obvious for me in about what direction I had to go for each track. Usually I go in the studio jam over the solo part and start to work out ideas, and then I record it.

"Return Of The Pharaoh pt.I" has a strong Yngwie slant to it, is it safe to say that Yngwie is an influence on you?

Yngwie is the reason I play the guitar. After listening to his Trilogy record the very first time, I was 14 years old, nothing would ever be the way it was before, and it changed my life. This is probably the song I’m most proud of; I really think it came out great.

What era Malmsteen do you like best?

I like his early stuff like Trilogy, the first Rising Force record, and then I’m totally into the Eclipse and Fire and Ice records. I also admire his works his done with his concerto and I also find some great tracks on the 'Unleash the Fury' record. This man is a legend, that’s simply the way it is.

"Stampede" hits you in the face like a sledgehammer, how did this track come together?

I was noodling around this opening riff for quiet some time and again I put it together piece by piece. It demanded this sledgehammer groove.

"The Battle Of 1386" is superb, great atmosphere with orchestration from Mistheria, I sort of see it as your version of see it as a cross between prime Metallica mixed with Holst's "The Planets".

I was inspired by this as I am very much into medieval history. I love sightseeing old castles, museums etc. This song is about a battle which took place close to where I live and I often go to this site to see the old paintings in the Battle Chapel. However, I wanted it to sound somewhat like a Movie soundtrack and I guess we got pretty close. I'm into Metallicas 'Ride the Lightning' record, especially because of the guitar sound and the riffing and I had this vicious riff and again I put it together piece by piece, it just had to bring over the character of a medieval battle from the start to the end. Mistheria did a terrific job on the intro and the whole orchestration of that tune. He, and this was the case on all the tracks he played on, always understood a 100% what my vision of each of the tracks was.

What led to you using Artension band mate John West on vocals here as opposed to Carsten?

This song simply demanded John’s voice and he did an outstanding job on this one.

There is a nice guitar/keyboard solo trade off here, did you and Mistheria discuss what you would do on sections like this or did you just "go for it"?

We just went for it, it has an aggressive touch to it and this is exactly what the song demanded.

How did the writing for the title track happen?

“End of Never” was the third song I have finished, and it didn’t take me that long to finish it. Also this was the first song we put the vocals on and I was blown away by Carsten's performance on this one, it was simply magic.

The closing instrumental "Towards The Light" is a nice showcase of your skills yet retains a purpose and has a strong classical edge. What does this instrumental say to you?

As I said before this track I have re-recorded and I think its showcases my abilities best from all the tracks on the record. This song means a lot to me as this is the first song I have recorded under my name on the Shawn Lane Tribute, and most importantly I wrote it in honour of the great Shawn Lane.

You have a great sound on the album, what guitars/amps/fx did you use and what were you looking to get from your sound this time around?

I use for many years now the Engl Savage 120 Amp. I have been searching for my sound for many years and I was trying dozens of tube amps, but still they never satisfied me a 100%, till that day when I came across Engl Savage 120. It just had everything I was searching for. Modelling Amps are not what I’m into, I miss the dynamics. They're fine for practising etc. . I own a Pod for working at home, but not for recording. Furthermore I got an Endorsement with DEAN Guitars and I really like the guitars I got from them. I got an ML Dimebag Tribute as well as a Vendetta. They play and sound great.

Regarding the sound I was going for a full and heavy sound, the rhythm sound is very important to me and I’m really happy how the whole thing has turned out in the end. Here and there are some balances I would do slightly different now, but all in all I’m more than happy how it has turned out.

The last few Artension albums in many fans eyes saw you taking a back seat to Vitalij's keyboards. Was this something you wanted to put right with Angel Of Eden?

Maybe, I liked all our records, but I missed a little bit the heaviness in the final mixes.

What's next for the band and yourself?

Let’s see what happens. I will try to play live with this band, I think the raw power of these songs are written to be performed live, I hope this works out. Besides that I’m already in the song writing process for record number two.

Anything else you would like to add for the readers?

Please check out the record, I hope you like what we've done and I hope to see you live.

Roger many thanks for your time.

Thank you Andy for your support and for having me here. Keep rocking on!

Web Links

Official Angel Of Eden website

Official Roger Staffelbach website

Roger Staffelbach's Angel Of Eden sign to Lion Music

2007-09-29T10:48:00.000Z

Lion Music are delighted to announce the signing of Roger Staffelbach’s Angel Of Eden. Acclaimed for his unique style, aggressive rhythm playing and his considerable soloing skills over 7 albums with prog metallers Artension, guitarist Roger Staffelbach has served up a potent offering of first class song writing over the ten tracks on the debut Roger Staffelbach’s Angel Of Eden album “The End Of Never”.

Fuelled by Roger’s virtuoso guitar work, the melodic soaring vocals of Carsten “Lizard” Schulz [Evidence One, ex Domain], keyboard wizardry of Mistheria [solo, Bruce Dickinson], the powerhouse drumming of Rami Ali [Evidence One] and thunderous bottom end of Steve Di Giorgio [ex Testament] along with guest performances from John West [ex Royal Hunt], David Shankle [ex Manowar] and Ferdy Doernberg [Axel Rudi Pell], “The End Of Never” is a first class album from some of metal most respected names offering lush vocal melodies, pulsating rhythms and virtuoso lead breaks within captivating songs.

Track Listing

01. The End Of Never

02. Dreamchaser

03. Angel Of Eden

04. Return Of The Pharaoh (Pt. I)

05. The Battle Of 1386

06. Into The Black

07. Return Of The Pharaoh (Pt. II)

08. Keys To Avalon

09. Stampede

10. Towards The Light

Web Links

http://www.angelofedenband.com/

http://www.myspace.com/angelofedenband

George Bellas returns with Palace Terrace

2007-08-19T21:56:00.000Z

Lion Music are proud to announce the signing of Palace Terrace, a progressive neo classical rock band with a theatrical and modern edge that is intellectually stimulating, thought provoking and emotionally moving. Their music combines superb musicianship, beautifully crafted melodies, unique harmonic progressions, compelling stories, counterpoint, large orchestrations, wide dynamics, odd meters, stunning vocal arrangements and elaborate forms.

Palace Terrace was formed when composer/guitarist George Bellas contacted Tenor Vocalist Jonathan R Marshall and invited him to fill the main vocalist spot in the band. The two discussed how they would like to see the band debut as well as evolve into the future. Sharing very similar visions the two began writing their first album "Flying Through Infinity". The search for an extraordinary percussionist was much of a concern for George and was a long but fruitful ambition when he finally discovered the prolific talents of Percussionist Sasha Horn.

George Bellas is one of the world’s leading technically advanced players with a CV that has seem him work with Ring Of Fire, John West, Vitalij Kuprij, Mogg/Way and many more as well as 3 critically acclaimed solos albums to date. George contributes all the compositions, orchestration, guitar, keyboards, bass, percussion, vocals and studio production. He has been playing guitar since the age of 7.

Palace Terrace will publicly debut with their album titled "Flying Through Infinity" during the fourth quarter of 2007 (actual date tbc) through Lion Music. More information on the album to follow soon.

Web Links
http://www.palaceterrace.com/

http://www.myspace.com/palaceterrace

http://www.georgebellas.com/

http://www.myspace.com/georgebellas

"Treasure Land - The Search Has Begun" review

2007-08-11T23:56:00.000Z

Treasure Land look set to become one of the most exciting neo-classical outfits of 2007 if the 4 tracks currently available on their official website are anything to go by. Entitled “The Search Has Begun”, the 4 tracks see guitarist Jonas Hörnqvist deliver tracks with the same kind of quality as heard on Malmsteen’s “Trilogy” albeit updated for the 21st century. Rest assured guitar heads will get a major kick out of this but luckily the song writing is equally up to scratch. Rick Altzi handles vocals here but the band have recently announced that he has left the band and a replacement is being sought. If the band can get in a high profile name (and the material gives no reason as to why they couldn’t) this could be the shot in the arm the neo-classical genre needs to get it back into the public eye.

Kicking off with the high intensity of “The Cities Are Burning” home to a scolding riff and rampant double bass drum work with an equally strong production the track is infectious and will be a winner in the live environment. The solo is equally stunning with Hörnqvist playing with equal parts speed yet with a keen ear for melody. An arpeggio sequence kicks it off before the fretboard explodes into frenzy – glorious stuff before some trade offs between guitar and keys see Hörnqvist go up another gear before another sweep picked arpeggio section brings us back into the chorus to round out the track. “Let The Curtain Fall” falls into a impressive mid tempo tune with another great riff which breaks down for the verse before picking up again for the chorus, here there is a hint of modern day power metal ala Silent Force or Iron Mask (no bad thing) and its another triumph with another scorching solo from Hörnqvist. “The Price” sees the tempo pick up again for a rocker giving of the same sort of feel as Malmsteen’s ‘Liar’ yet with nothing here remotely smelling of plagiarism. An intricate classical melody sequence again kicks off the solo section before Hörnqvist impresses once again when he cuts loose. The eastern meets Spanish latino tinted acoustic instrumental of “Only For You” adds another spin to the proceedings with some beautiful melodies over film score like orchestral arrangements.

Overall “The Search Has Begun” demonstrates a very high level of songwriting, performance and craft and I cannot wait to hear more. Check out the clips now at http://www.treasureland.nu/

Roger Staffelbach/Angel Of Eden update

2007-06-08T08:56:00.000Z

NEW ROGER STAFFELBACH WEBSITE

Roger Staffelbach's official website has had a makeover with new content and looks superb! Roger has also just been confirmed as a Dean Guitars endorsee.

ANGEL OF EDEN NEWS

One great album to look out for out soon, Roger has just issued the following information on his website.

We are right now in the final stages of mixing of the Record, and it's gonna be great. There was a slight Change in the Line Up so from now on Mistheria is the man on the keyboards. All i can say that he is a real maestro, i'm sure you're gonna love it! We all get along very well so i'm really looking forward to what's coming next here. A new homepage for Angel of Eden will be up , details to be announced here soon. Anyway i will keep you posted on everything.

I also would like to announce the guests on the record:

John West (Artension/Solo/ex Royal Hunt)
David Shankle (DSG / ex-Manowar)
Ferdy Doernberg (Uli Roth / Axel Rudi Pell)

Thank you all for your outstanding performances!

The main core of the band on the forthcoming album as previously reported is:

Vocals: Carsten Schulz
Guitars: Roger Staffelbach
Keyboards: Mistheria
Bass: Steve Di Giorgio
Drums: Rami Ali

Impellitteri news update

2007-05-19T11:45:00.000Z

Chris Impellitteri has just posted the following on his official fansite

Hello Friends,

The new IMPELLITTERI recording titled "Good and Evil" is proceeding nicely. We are recording at the Village Recorders in Los Angeles. Also, their is a BIG SURPRISE as to who is singing in the band!! Beware!!
We are recording 13 fast riff crazy tunes with all of the Impellitteri signature shredding guitar solos, screaming vocals, pounding drums, brutal bass, with a lot of melody thrown in. And we are actually working with a co-producer, who is giving us some new and welcome input!! SHRED ON!!!

Chris is featured in the June issue ( on news stands now!!) of Guitar One Magazine with Rush on the cover. It is officially the magazines last issue, so thanks Guitar One for including Impellitteri. They have some solo ideas based on the Play With Fire riff, which actually should be based on the Black Impellitteri EP not Stand in Line. The EP has the better version!!

You can check out the solo to Play with Fire on the audio section of this web page. It was one of those crazy solos that started it all. Every shredder seems to have that IMPELLITTERI Black EP which was one of the most enjoyable discs we made because we were so poor and we just played live with virtually all room mics. Crude, rude, and taking it too the limit with everything.

Anyways, the new disc is going to sound huge and it will shock you from start to finish.

We also posted some free songs on the audio section for anyone to ripp. So, please enjoy!!

In addition we posted the bootleg footage of Impellitteri's infamous "Screaming Symphony-Instrumental" and "Space Jazz Bulldozer" live videos for all of you youtube fanatics. The bootlegs where actually recorded by some audience member at a convention we were playing as a favor to JBL It is funny how many people watch that thing, it is becoming a cult classic.

-Chris Impellitteri

Michael Harris - Orchestrate review

2007-05-07T21:00:00.000Z

MICHAEL HARRIS - ORCHESTRATE review
Lion Music - Out Now

“Orchestrate” sees world acclaimed guitarist Michael Harris back with the most ambitious album of his career. With a style best described as "Neo Orchestral Metal” the album is a modern day masterpiece. One listen reveals the unique combination of electric guitar playing a very “classical meets metal” style with an orchestra and metal drumming complete with stunning guitar virtuosity. Fans of Yngwie’s Concerto album and Uli Jon Roth’s works on ‘Transcendental Sky Guitar’ will have some idea of the basis to which Michael has taken his cues from, but to limit this album as a wannabe of the above would be selling it cheaply. ‘Orchestrate’ is simply a work of original beauty with immense guitar work that manages to combine a near perfect marriage of melody and technicality over orchestral backings which are both intelligent in their composition and stunning in their arrangement. Yet the album manages to fuse rock drumming and metal rhythms into the work.

The production of the album is also superb. Michael’s guitar tone is nearer to the Uli Roth school of tone than the Yngwie Strat attack and to some degree this tonality may well have pitched where Michael takes the orchestral backing. Opener ‘Opus Concerto’ is nothing short of breathtaking with in its music, guitar work but also production. ‘String Theory’ sees Michael take his guitar through every conceivable emotion there is the neo-classical genre from deft grace notes to blow your head off fretboard melting. The majestic ‘The Mad Composers Rage’ is a full on classical metal assault. ‘Notes From The Kursk’ has a dark and menacing Russian/Slavik vibe to it. ‘Battle At Storms Edge’ is probably the easiest track for straight metal heads to get into and reminded me a little of James Byrd’s ‘Out Of The Temple’ (from Son Of Man) which his no bad thing at all. The acoustic ‘Guiprice’ is short and concise yet musically beautiful before ‘Mysterioso’ sees the music go more towards traditional neo-classical waters which is further built upon with ‘Octavian II’. ‘The Anti Shred’ sees more restrained music come back to the fray and sees the main melody from ‘String Theory’ rearranged which is a nice turnaround before ‘Schizo Forte’ rips your head off with its cocked wah pedal tone full of counterpoints, impressive drumming from Matt Thompson whose work is equally as impressive throughout as Harris’s guitar. I view this track as Michaels own version of say a Trilogy Suite Op.5 (Yngwie Malmsteen – Trilogy) i.e. strong melodies intertwined with virtuoso guitar and its a great way to the end the album.

Overall Michael Harris has delivered what should be viewed as a classic of the neo-classical (or neo-orchestral) genre. There is plenty here for even the most hardened guitar addict to sink their teeth into yet enough accessibility for the more casual listener to enjoy. Overall a highly recommended release.

Now read our exclusive interview with Michael at:
http://baroqueroll.blogspot.com/2007/01/michael-harris-interview.html

Buy Online at:
USA - Guitar 9
Europe - Lion Music Store

Masi - Eternal Struggle review

2007-05-07T20:53:00.000Z

MASI - ETERNAL STRUGGLE REVIEW

‘Eternal Struggle’ released by Masi (led by guitar whiz Alex Masi) is one neo-classical album all readers of Baroque & Roll owe it to themselves to own. Released back in 2001, ‘Eternal Struggle’ stands up as well now as it did back at the time of its original release. Home to a sound that is commercial yet heavy; its sure to appeal to all fans of the classic Rising Force output.

Alex Masi shows off his guitar wares with equal aplomb whether it be on electric or nylon acoustic with a technique that is full of speedy arpeggios, chromatic and dissonant licks and a wailing vibrato. Simply said if you enjoy energised lead guitar and pounding riffs then ‘Eternal Struggle’ is an essential purchase. Also featured is a cover of the Foreigner classic ‘Blue Morning, Blue Day’ to which Masi adds a tonne of TNT with explosive results. Highlights come in the form of practically every song from the opening gambit onslaught of ‘Crow Haven’s Corner’ and ‘All I Want’ to the more melodic yet dark waters of ‘Wheels Roll On’ and ‘Black Flames Allure’ whilst the more commercial tracks such as ‘Lost In The City’ and ‘On & On’ hark back to the glory days of Yngwie’s ‘Odyssey’. album. The tender ‘Writing On The Wall’ is simpy beautiful showcasing Masi’s acoustic technique with nice orchestration here for added texture not to mention a great vocal from Kyle Michaels.

‘Eternal Struggle’ is one of the best neo-classical albums released so far in the 21st century and whilst Masi seems more content to play in fusion waters this will be an everlasting tribute to his skills as a neo-classical writer and performer.

Order at:

USA - Guitar 9

Europe - Lion Music Store

George Bellas, Joe Stump and Kiko Loureiro set for Argentina

2007-04-29T09:15:00.000Z

George Bellas, Joe Stump and Kiko Loureiro (Angra) will be doing some concerts next month in Buenos Aires, Argentina on May 19th and 20th at the Acatraz Theatre. It will be a G3 type of bill. All three guitarists will also be doing 2 guitar clinics at the MI (Musicians Institute) of Argentina.

For more information visit www.georgebellas.com and for further George Bellas worldwide clinics see next post below.

George Bellas to give guitar masterclass in Spain

2007-04-29T08:41:00.000Z

Masterclass in Spain:

George will be doing several Masterclass' at the ACADEMIA DE GUITARRA located in Malaga, Spain during the month of June 2007.

George Bellas Masterclass
Saturday, June 2, 2007
Sunday, June 3, 2007

For a taster of George's guitar prowess click here...

Double Dealer Live DVD sampler

2007-04-18T10:21:00.000Z

Check out the clip below for a sampler of Norifumi Shima in full flight from the latest Double Dealer live DVD.

Order from http://www.cdjapan.jp/detailview.html?KEY=VPBQ-19026

As previously reported the new Double Dealer studio album "Desert Of Lost Souls" is out in Japan on 25th April, soundclips from the album can now be heard here

Kelly Simonz launches new myspace page

2007-04-18T09:57:00.000Z

One Of Japan's leading guitar virtuosos Kelly Simonz has recently launched his own MySpace page. So be sure to head on over, check out the clips for some blistering neo-classical soloing in superb song formats and also with Kelly's great vocals.

In other Kelly Simonz news a promo sampler of his new DVD (only available through his official website) can be watched via the following link. This new DVD is approx 65 mins long and captures Kelly's performance at The Flamingo in Austria.

Roger Staffelbach's AngelOf Eden update

2007-04-10T09:29:00.000Z

Roger Staffelbach, lead guitarist of ‘Roger Staffelbach’s Angel Of Eden - The End Of Never’ has posted the forthcoming album’s artwork (see below). It looks like the album with be released in Japan in July/August time (tbc) with a European release to follow shortly afterwards.

The first class line-up for the forthcoming release is:

Roger Staffelbach- Guitars
Carsten Schulz - Vocals (Domain, Evidence One)
Ferdy Doernberg - Keys (Uli Jon Roth)
Mats Olausson - Keys (Yngwie Malmsteen)
Steve di Giorgio - Bass (Testament, Sebastian Bach)
Rami Ali - Drums (Evidence One)

In related news Roger also has signed with Dean Guitars.

Web Links
http://www.rogerstaffelbach.com

Double Dealer enter the 'Desert Of Lost Souls'

2007-04-10T09:26:00.000Z

Double Dealer, the Japanese supergroup featuring members of Concerto Moon and Sabre Tiger, which means to B&R readers the superb Norifumi Shima see their fourth album entitled ‘Desert Of Lost Souls’ released in Japan (a domestic release is probably unlikely) on April 25th.

The track listing is:

01. HOWL OF THE WOLF
02. LIKE A FREE WIND
03. TRAUMEREI
04. STAR IN THE DAWN
05. JUDGEMENT
06. CAT IN A BACKYARD
07. HEART NEVER BENDS
08. LABYRINTH
09. CLUSTER OF WONDERS
10. WITHERED GRASSES
11. STAIND LIFE

More information on the release (in Japanese) can be found at:
http://www.vap.co.jp/dd/info/info.html

The album can be ordered from:

http://www.cdjapan.co.jp/detailview.html?KEY=VPCC-81557

IMPELLITTERI "LIVE! FAST LOUD!" CD being re-issued with new artwork

2007-03-28T10:41:00.000Z

The long out of print "Live! Fast! Loud!" CD will now be available for ordering en mass once again.

The re-issue will contain TONS of newunreleased photos and more importantly, 2 NEW bonus tracks. One is"Rat Race" and the other is a ULTA RARE live acoustic performance of"Power of Love". The "Power of Love acoustic" track may actually notstay on there long so the ones who order fast will get it.

1. Overture

2. Visual Prison

3. I'll Be With You

4. Victim of the System

5. Walk Away

6. Stand in Line

7. Countdown to the Revolution

8. Screaming Symphony

9. Burning

10. Lost in the Rain

11. For Your Love

12. Over the Rainbow

13. Warrior

14. Rat Race*

15. Meet the Band

16. The King Is Rising

17. Power of Love-Acoustic**bonus tracks

The Special Edition re-issue of "Live! Fast! Loud!" is a FAN CLUB ONLY pressing and although it IS approved by the band, it is NOT part of theirofficial discography.

For more info and ordering. go to:http://www.rapture.net/impellitteri/livefastloud.htm

Michael Harris Interview

2007-01-11T00:25:00.000Z

Welcome to 2007! A year where you will see Baroque & Roll get bigger with more frequent updates so be sure to add us to your bookmarks.

To kick of the new year is our first interview of the year, the "as promised" interview with Michael Harris. If you have not yet checked out Michael's stunning new release "Orchestrate" don't hesitate to do so.

Michael, many thanks for agreeing to this interview, May I kick it off by congratulating you on “Orchestrate”, its absolutely fantastic.

Much thanks!

When did the initial seed to do an album of neo-orchestral metal come to you?

I guess around 2 years ago I decided to compose a whole neo classical record, as I’ve always loved the genre and have written a lot of that style in the past from record to record. As the record developed, I realized “neo-orchestral” was a more accurate term for what I was doing than “neo-classical”.

How long did that vision take to materialise into the work of art that is ‘Orchestrate’?

I had some material already demo’d, so that helped a bit. Then the bulk of the record was written I guess within about a year. From start to release, it seems I’m usually looking at 2 years or more for my records. That’s what I feel it takes to get it right.

The album reflects the sound that I hear in my head when I think of a guitar with an orchestra in this setting perfectly. How was the music written?

My composing process can get quite ugly. If I get lucky, a song might flow smoothly from one part to another in my mind, but many songs are the result of fitting parts together that have been written at different times. Either way, I start with a theme that I feel is strong enough to work around, and build it from there until oops, I have a song.

I don’t like filler parts, so if I reach an impasse, I’ll move to another song while waiting to find the perfect part for the previous one, so I might actually be working on several at the same time. Then I go back and tweak stuff. That’s where I get into real trouble.

I imagine it was pretty demanding to work through the orchestral scores and then perform these yourself. What you were looking to achieve with the orchestra side of the music?

I love the sound of an orchestra - it seems to give music more “relevance” than a smaller format. There’s just something incredibly intense about it. So I wanted to intensify my music with the orchestra and to also have a lot of sections where the drums stop and the song collapses into an orchestral break (sometimes a chamber, sometimes a full orchestra.) Choirs also pop up from time to time as well. I also love timpani (nearly all the timpani sounds were recorded on my Roland guitar synth.)

How did you go about approaching the orchestration from a mixing viewpoint?

“Orchestrate” is the first record I’ve mixed on my own, and I was fortunate to be able to work in an excellent Pro Tools room at Gary Long’s studio, Nomad, here in Dallas. I recorded the orchestration one sound at a time as opposed to keyboard chords, so that made the mix more challenging, but allowed for more flexibility and authenticity. I had my engineering mentors, Sterling Winfield & JT Longoria both help me set up the mix as well. I’ve learned a ton from those guys in the last 5 years, and a ton about mastering from Gary.

Was the album written with the lead guitar as the dominant factor with the backing worked around those lines?

Yes, most of the time it was. But it definitely worked the opposite way at times as well. I won’t hesitate to compose an idea on keyboard or guitar synth.

The first thing that hit me was that your main focus was on the melody as opposed to ramming as many techniques or scale sequences into each track; is this a fair observation?

Yes, thanks for acknowledging that. That’s exactly my objective on every record. I definitely respect any musician with exceptional technique and strive for that myself, but it’s composition that is the real challenge for me, and that’s also where I have the most fun.

I especially like the way the album tends to bloom and then contract combining certain songs as per a classical movement. Was the running order of the album intentional or it is something that just panned out this way?

I definitely spend some time toiling over the running order of all my albums. I put them in order and listen back, usually going through several attempts before I lock one in. Whether I mean to or not, I always end up with a couple of songs that sound similar on a record, so I have to separate them. Then you can’t put all the softer tunes together, so you have to separate those in a way where the record still flows. I always like my records to have a lot of dynamics.

What classical composers served as inspiration for Orchestrate?

Some of my fave master composers are Bach, Mozart, Vivaldi, Dukas (“The Sorcerer’s Apprentice”), and Beethoven. Although there is a lot of amazing Mozart in major keys, I much prefer music written in minor keys. There’s something about dark, depressing music that makes me very happy:-) Recently, I listened to some 20th century composers, such as Allan Pettersson and Krzysztof Penderecki, as I had read about them being very dark. Their material was unique and intense, mostly in a textural, not melodic sense though. My mother recently gave me some Dvorak, which I liked a lot.

In regards to your guitar work, what was your primary aim for this aspect of the music?

I wanted to play very melodically, have a nice blend of electric, acoustic, and nylon guitars, and definitely lots of metal rhythm guitar. I wanted to have some sections where the orchestra and guitar play parallel lines, and other sections with them working against each other. Chops-wise, I wanted to play a lot of whole notes, haha.

What guitar gear did you use for this album?

The electric guitar was mostly my Hamer Scarab II, also a Brian Moore electric w/synth & piezo pickups, my Hamer Eclipse on one passage in “Octavian II” (because the mini humbuckers have less gain), my Tacoma Chief acoustic, and my Wechter Pathmaker electric nylon string. Amp-wise, I used a Line 6 POD direct and a Mesa Dual Rectifier head mic’d through and Mesa 4x12 cab.

Is the Hamer a custom instrument as I have never seen one like that anywhere!

Yes, that’s why I liked it so much when I first set eyes on it. It is a Scarab II, a model that was only made for a couple years. And it is custom, in the fact of being non tremelo. My 2 Scarabs are the only U.S.A. models to ever be non tremelo, although Hamer has started to make a non tremelo import version of the Scarab. I love what my graphic artist, John Holland (http://www.mistymountaingraphics.com/) did visually on the front cover with the Scarabs. It epitomizes the fusion of classical and metal.

What were you looking for in your guitar tone into how that would balance with the orchestration?

I went with my normal tone and didn’t have to EQ too much in the mix. In fact, I EQ’d my guits at first, but eventually went back and took most of the EQ off. As far as overall balance with the orchestra, it was a matter of tweaking over and over and fortunately having time for perspective in between. Getting a proper balance between any group of instruments is always a challenge, because it’s subjective and everyone in the room has an opinion.

Despite the heavy classical nature of the album there is also a metal element present. What do you feel it is that allows metal and classical music to fuse so well?

Pure classical music can run the gamut of dynamics, and on the heavier side of that, can be incredibly powerful, like metal is. In making “Orchestrate”, I realized just how much a drum kit can add to that power. Timpani is wonderful, but there is nothing in pure classical instrumentation that is as heavy as one single rock drumkit. Matt did a fabulous job showing how metal drumming can exploit that classical power, such as in “Battle At Storm’s Edge”.

Do you find any inspiration for Orchestrate in Yngwie’s or Uli Jon Roth’s classical/guitar albums?

Absolutely, Ulis’ solos (Scorpions; Electric Sun) are the best solos ever, epitomized by “The Sails of Charon” or “Still So Many Lives Away”. Yngwie’s Alcatrazz record and first 2 solo records were my personal faves. Blackmore and Steve Morse are also influences in fusing classical with rock, but my biggest influences in this style are the compositional influences of ELP & Kansas. You may hear that more on future releases (such as my new band, “Thought Chamber”) than you’d hear on “Orchestrate” though. Kansas is my fave U.S. band ever. There’s not even a runner up in my book. I’m not talking “Wayward Son” though, I’m talking deep cuts such as “The Pinnacle”, “Journey From MariaBronn”, “The Wall”, or “Song for America” - chiefly Kerry Livgren compositions, who is my favourite rock composer, and very classically influenced himself. Unlike most composers, I can’t see where Kerrys’ influences came from. Incredibly original. And ELP’s “Karn Evil 9” is among my favourite pieces of music ever!

Anything else you would like to add for the readers?

Thanks to those who give “Orchestrate” (or any progressive record) more than one good listen in order to absorb it properly. I hope fans of the genre will also check out my new band, “Thought Chamber” in 2007, and the new Vitalij Kuprij record, “Glacial Inferno”, which is a freakin’ AMAZING record, very neo classical, and I was honoured to play on it. Also, thanks to those who support their favourite artists by BUYING their music.

Michael many thanks for your time.

I enjoyed it immensely. Somebody please shut me up:-)
Michael

Web Links
www.michaelharrisguitar.com
www.myspace.com/michaelharrisguitar

Coming soon at Baroque & Roll / Nov 06 Charts

2006-12-20T23:41:00.000Z

Well 2006 has been quite a year, the last couple of months have seen the updates tail off due to a number of reasons, the biggest one of these has been the collapse of my marriage and subsequent issues surround this, if you any of you have been in this situation you will understand, if you have not then I hope you never will.

Anyhow, with 2007 just around the corner things are starting to look more rosy and BAROQUE & ROLL have great new updates lined up.

First of these will be an extensive look into the new Michael Harris album, "Orchestrate", out now on Lion Music. This album represents the pinnacle of neo-classical guitar in 2006 and a taster quote from our coming review should tell you a lot about this release...

A neo-classical delight and the Baroque & Roll.com album of 2006. Stunning compositions, sublime performances and an epic production. If you buy one neo-classical (neo-orchestral) album this year make it Michael Harris’s ‘Orchestrate’.

To tie in with this fantastic release we have an interview with Michael to discuss the album in detail from the composers perspective.

Also to be expected in 2007 are new interviews with James Byrd, Roger Staffelbach, George Bellas, Joe Stump and Chris Impellitteri all of whom are expected to release new albums. These of course will be featured and reviewed in depth here at BAROQUE & ROLL.

=======================================

To end I leave you with the November 2006 Neo-Classical charts courtest of Guitar9.com

#1 DAVID VALDES / Paradise Lost
For an example of head-splittingly magnificent guitar playing from Spain, look no further than David Valdes. Each cut screams with fury and offers a primer of formidable guitar techniques.

#2 BORISLAV MITIC / Fantasy
Fantasy is guitarist Borislav Mitic's 1996 Yugoslavian release which eventually led to his signing with Shrapnel Records. Not as good as the self titled Shrapnel release which is foolishly out of print (as classy as ever Shrapnel!) but a nice introduction to Borislav's work.

#3 MARCO FERRIGNO / Hanging Gardens
Three years after his last release under the "Ferrigno, Leal, Kuprij" banner Marco is back with more neo-classical firepower and this, his debut solo album is a very intricately detailed release with a lot of fretwork but also a lot of melody. One of the most immediate comparisons to Marco's very fluid style of play is similar to that of George Bellas.

#4 ALEX MASI / In The Name Of Beethoven
Lovers of the music of Johann Sebastian Bach and the guitar should check out Italian guitarist Alex Masi's In The Name Of Bach. Forget enjoying Bach's pieces only on violin or keyboard, this CD is all guitar. Masi performs the majority of the 15 pieces on Manne Semiacoustica guitars (acoustic), but four of the pieces feature Masi blazing through prestos, toccatas and fugues on Rostrum electric guitars.

#5 KEVIN FERGUSON / Strad To Strat
Kevin Ferguson, a guitarist and composer from Oregon, offers up his debut CD, consisting of fiery classical music composed by violin virtuosi such as Paganini, Wieniawski and Sarasate.

#6 VITALIJ KUPRIJ / Forward & Beyond
This neo-classical work and shredfest features many great well known guitar players such as George Bellas, Michael Romeo, Michael Harris, Jeff Kollman, Javier Leal, Roger Staffelbach Borislav Mitic and Fransesco Fareri.

#7 JOSE DEL RIO / Journey Into The Fourth Dimension
Jose Del Rio's all-star neoclassical/progressive shred project is called Journey Into The Fourth Dimension, an incredibly intense shred release featuring guitarist Jose Del Rio and keyboard virtuoso Vitalij Kuprij (Artension). Fans of over-the-top intense shredding need to check out the 300 bpm version of "Flight of the Bumble-Bee".

#8 HESS / Opus 1
The CD features a new breed of high caliber instrumental guitar compositions combining the neo-classical styles of Yngwie Malmsteen and Jason Becker with the progressive rock styles of Dream Theater and George Bellas, along with the emotion of 19th century Romanticism.[check out our exclusive interview with Tom Hess]

#9 GEORGE BELLAS / Venomous Fingers
Blazing shred, wicked arpeggios and heavy neo-classicism mark the latest release from one of the fastest players around. Check out the Bellas 'butter' tone... mmm.

#10 MICHAEL ROMEO / The Dark Chapter
Romeo is an incredibly accomplished player drawing on a neo-classical style reminiscent of Yngwie Malmsteen while retaining his own identifiable signature that sets him apart from other players in this genre. He has received major coverage in many of the guitar magazines around the world and is best known for his role as lead guitarist in Symphony X.

All these albums can be ordered online at http://www.guitar9.com/topsellersmonthneoclassicalmetal.html

More Roger Staffelbach news

2006-10-31T13:09:00.000Z

Further to our news on the forthcoming Roger Staffelbach album, Roger checked in with some more details on the upcoming release.

The band will have the name of Roger Staffelbach's Angel of Eden with a multi licensing deal just been signed with Marquee/Avalon Japan.

The Line Up will be as follows:

Roger Staffelbach - Guitars
Carsten Schulz - Vocals (Domain, Evidence One)
Ferdy Doernberg - Keys (Uli Jon Roth)
Mats Olausson - Keys (Yngwie Malmsteen)
Steve di Giorgio - Bass (Testament, Sebastian Bach)
Rami Ali - Drums (Evidence One)

There will be some Guest Appearances, i will let you know details soon.

Michael Harris goes neo-orchestral with "Orchestrate"

2006-10-27T10:27:00.000Z

“Orchestrate” sees world acclaimed guitarist Michael Harris back with the most ambitious album of his career. With a style best described as "Neo Orchestral Metal” the album is a modern day masterpiece. One listen reveals the unique combination of electric guitar playing a very “classical meets metal” style with an orchestra and metal drumming complete with stunning guitar virtuosity.

On the album Michael comments, “My original vision was to go back to my “Defense Mechanizms” roots, yet to focus on one style, neo classical metal. As the record developed, I realized "Orchestral" was a better term, so I consider the record to be my one & only neo-orchestral record. My previous instrumental records have had some “classical meets metal” compositions, but this record is focused exclusively on that style. I recorded all the backing strings, etc on my keyboard, and rather than playing chords, most of the time I treated it like scoring an orchestra, recording one "voice" at a time. There is still plenty of guitar of course, and drummer Matt Thompson did an outstanding job. My focus compositionally was to create strong themes first and foremost, before the musicianship & full arrangements came into play”.
On the making of the album Michael states, “I recorded all the backing strings, etc on my new Yamaha Motif ES keyboard (because the sounds blew me away) and rather than playing chords, most of the time I treated it like scoring an orchestra, recording one "voice" at a time. Time consuming? Hell yes! So what! There is still plenty of guitar on the record of course, and Matt's drumming just kicked the whole thing in the arse!”

“My focus compositionally was to create strong themes first and foremost, before the musicianship & full arrangements came into play. I didn't intend on writing around any particular "culture" of music stylistically, but when I listen back, I hear many different styles, even some Russian / Slavic themes. I also wanted to create a record that breathes with a lot of dynamics, also with at least one tempo descelerondo, and some free time tempos”.

Michael’s classical inspirations include the classical composers include Bach, Mozart, Beethoven, Tchaikovsky, Dukas, and Vivaldi. Michael’s more recent favourites include Krzysztof Penderecki and Allan Pettersson, stating, “I’ve found them to have some captivating ideas texturally, but the classical composers I appreciate the most (above) are the ones who composed with the greatest melodic sense”.

Released November 24th 2006 on Lion Music

Musicians
Michael Harris - Electric, acoustic, synth, nylon string, bass guitars and keyboards.
Matt Thompson – Drums

Track Listing
01. Opus Conceptus
02. String Theory
03. The Mad Composer’s Rage
04. Notes from the Kursk
05. Battle at Storm’s Edge
06. Guiprice
07. Mysterioso
08. Octavian II
09. The Anti Shred
10. Schizo Forte

Credits
Composed, Mixed & Produced by Michael Harris.
Mastered by Gary Long.

Official Websites
www.michaelharrisguitar.com
www.myspace.com/michaelharrisguitar

Roger Staffelbach working on new material

2006-10-22T22:23:00.000Z

Artension guitarist Roger Staffelbach is currently finishing up his debut solo album. As yet untitled the new album see Roger joined by vocalist Carsten "Lizard" Schulz (Domain) and keyboardist Mats Olausson (ex Malmsteen). Having been privy to 3 tracks from the album I can whole heartedly state that this is stunning progressive metal with a great neo-classical slant. The guitar work is superb amd overall songwriting is stunning and will please any neo-classical fan. Having personally felt that Roger was pushed to the background on the last couple of Artension releases its great to hear him getting the spotlight he deserves... one to keep an eye and ear out for.

As I get more information I will keep you posted.

Web links
www.rogerstaffelbach.com
http://www.myspace.com/rogerstaffelbach

New Space Odyssey album details

2006-10-22T22:16:00.000Z

Keyboard whiz Richard Andersson (Time Requiem / Majestic) has posted details of the new Space Odyssey record at his official website www.anderssonmusic.com Andersson is superb keyboard player in the Malmsteen mold whilst the band features neo-classical guitarist Magnus Nilsson.

"In beginning of May I decided to start work on third Space Odyssey record and this time with Magnus and me composing the songs. So we did. I’ve had a lot of fun together with Magnus creating the 10 tracks in just one month. We both decided to do it simple and plain and with no progressive elements. This time the songs are very far from what I have done before. Now you can actually separate my two bands Time Requiem and Space Odyssey in many different ways. Since Patrik Johansson (Astral Doors) was busy with his own band at the same time as I wanted the vocals immediately I simply found a new but brilliant singer David Fremberg from the Swedish band Andromeda. He was invited to do the songs and it took two days to put down the vocal tracks. Excellent man! If you are into Tony Martin, David Coverdale kind of a singer you will love this one. He sounds awesome!!!Everything’s moving fast and the release date for Japan is set for 2006 November 21. Rest of world around that time. I’m still working on that".

Space Odyssey 2006:
Richard Andersson – Keyboards, hammond, backing vocals
David Fremberg – Vocals
Jörg Andrews – Drums
Magnus Nilsson – Guitars & Bass

-----------------------------------------------
1. The Bohemian Werewolf (soundclip)
2. Obsession (soundclip)
3. Miracles in Daylight (soundclip)
4. Killing the Myth (soundclip)
5. Dark Wings of Universe (soundclip)
6. The Awakening (soundclip)
7. Tears of the Sun (soundclip)
8. The Northern Silence (soundclip)
9. Bloodspill (soundclip)
10. Jailbreaker (Japan bonus track)

New James Byrd Interview online

2006-10-21T00:26:00.000Z

Always home to very good reading, James Byrd (Byrd, Atantis Rising, Fifth Angel) has recently conducted an informative new interview with a french website. Below are some choice quotes from the feature, be sure to check out the whole interview here.

On what he has been upto since 2002...
"I haven't released an album under my own name since 2002. A lot of factors contributed to that; first, I had a serious back injury, and was on heavy pain medication while I was recording Anthem. I couldn't even walk for several months. It was really hard to produce the album, and when I was finished, I just felt burned out, and had a long physical recovery to face...."

On his own guitar company Byrd Guitars...
"First and foremost, they're really the ultimate design for the advanced neoclassical rock guitarist. But they're also fantastic for blues, or even country music because the tone is very pure and bell like...."

On the possible direction of forthcoming new material...
" I think Anthem was too keyboard dominated, and dry sounding, so I will try to attain a more organic and guitar dominated sound..."

On touring...
"I have degenerative arthritis in my spine and tendon problems in my left hand that preclude my touring. I had my tendons surgically unsheathed in 1989 because my hand had completely frozen, and thank God it works again..."

Chris Impellitteri offers second wmv clip

2006-10-21T00:21:00.000Z

Chris Impellitteri has made available another clip of him shredding in his amp room.

To download the clip visit his official site at www.rapture.net/impellitteri and scroll down.

No further news on the Chris's next album release at present.

Yngwie Malmsteen Tour Dates

2006-10-21T00:10:00.000Z

The Maestro, Yngwie Malmsteen has just confirmed even more dates in Asia/Australia as well as a string of Scandinavian dates in December. For more info visit the official Yngwie website at www.yngwie.org

2006 Asia/Australia Tour
DIRECT TICKETING LINKS:
Thailand Ticketing Link:
Singapore Ticketing Link:

NOVEMBER 4: BANGKOK, THAILAND - THUNDERDOME
NOVEMBER 6: HONG KONG - HONG KONG INTERNATIONAL TRADE & EXHIBITION CENTER (HITEC)
NOVEMBER 9: SINGAPORE - FORT CANNING PARK (OUT DOOR VENUE)
NOVEMBER 11: TAIWAN - FAMILY THEATER, TAIPEI
NOVEMBER 14: BRISBANE, AUSTRALIA – THE ARENA COMPLEX
NOVEMBER 15: SYDNEY, AUSTRALIA – ENMORE THEATER
NOVEMBER 16: MELBOURNE, AUSTRALIA – PALACE ENTERTAINMENT COMPLEX
NOVEMBER 17: ADELAIDE, AUSTRALIA – THEBARTON THEATER
NOVEMBER 19: PERTH, AUSTRALIA – METRO CITY

Christmas in Scandinavia 2006
DECEMBER 13 : HEADLINER, "CHRISTMAS IS HEAVY 2006 FESTIVAL", HELSINKI, FINLAND – ICEHALL
DECEMBER 14: TAMPERE, FINLAND – TULLIKAMARINAUKIO 2
DECEMBER 15: HEADLINER, "CHRISTMAS IS HEAVY FESTIVAL 2006", OULU, FINLAND – TEATRIA
DECEMBER 16: HEADLINER, "CHRISTMAS IS HEAVY FESTIVAL 2006", JYVASKYLA, FINLAND – ARENA

DVD re-issues
One to get fans buzzing, the long out of print (and never officially released on DVD outside Japan) live recordings of Trial By Fire: Live In Leningrad and Rising Force 85 will be given official worldwide releases soon - more details to follow.

Archive - Katsu Ohta (Ark Storm) profile

2006-10-14T15:50:00.000Z

Ark Storm are one of neo-classical metals brightest newcomers of the last couple of years. Led by the Japanese virtuoso guitarist Katsu Ohta the band pedal the type of neo-classical metal heard on the early Rising Force records but with enough originiality to make themselves a valid commodity in their own right.

The band's debut No Boundaries was an innocent slice of neo-classical guitar madness, which if a little unoriginal in places had enough energy and sting in Ohta's guitars that any rough edges were soon forgotten. The album featured the vocals of Hirosaki Imanishi who quit shortly after its release due to hearing problems.

Beginning Of The New Legend saw original Saber Tiger singer Yasou Sasai joins the band and his talent paid dividends with much improved English and a more powerful delivery; this in turn saw the band start to hone their own sound and also new members in the guise of ex Concerto Moon drummer Ichiro Nogai whose powerhouse attack helped beef up the rhythm section along with addition of new bassist .

The bands third album 2005's The Everlasting Wheel saw a more streamlined approach in the song writing department with a slightly slower tempo on many of the tunes. Katsu guitar is perhaps even more impressive due to slightly more complex chordal arrangements and his tone is also the best yet making this an overall explosive album.

Katsu and Ark Storm are now starting to build a reputation outside of Japan, despite only having 1album (Beginning Of The New Legend) available outside Japan, the bands albums are available at Guitar 9. Be sure to check out this exciting new act.

Guitars
Fender Strats - modified with scalloped necks and DiMarzio Virtual Vintage pickups.

Amps
Marshall 1987x 50 watt Head - modified
Marshall JMP50 head - modified

Effects
DOD 250 Overdrive/Preamp (vintage)
DOD YJM308 Overdrive Preamp
Boss NS-2 Noise Suppressor
Dunlop Wah

Neo-Classical Chart September 06

2006-10-14T15:35:00.000Z

Charts courtesy of www.guitar9.com

#1 Marco Ferrigno / Hanging Gardens
Three years after his last release under the "Ferrigno, Leal, Kuprij" banner Marco is back with more neo-classical firepower and this, his debut solo album is a very intricately detailed release with a lot of fretwork but also a lot of melody. One of the most immediate comparisons to Marco's very fluid style of play is similar to that of George Bellas

#2 German Schauss / The Lightspeeder
Mind-blowingly fast sweeps. Complex, classically influenced progressions. Odd, even and fractional meters. Shredded, corpse-chopping, speed picking. A head-splittingly large number of notes! All this and more can be heard on German Schauss' CD The Lightspeeder, a collection of seven neo-classical progressive instrumentals designed to shock, awe and make you soil your drawers.

#3 Jose Del Rio / Journey Into The Fourth Dimension
Jose Del Rio's all-star neoclassical/progressive shred project is called Journey Into The Fourth Dimension, an incredibly intense shred release featuring guitarist Jose Del Rio and keyboard virtuoso Vitalij Kuprij (Artension). Fans of over-the-top intense shredding need to check out the 300 bpm version of "Flight of the Bumble-Bee".

#4 Hess / Opus 1
The CD features a new breed of high caliber instrumental guitar compositions combining the neo-classical styles of Yngwie Malmsteen and Jason Becker with the progressive rock styles of Dream Theater and George Bellas, along with the emotion of 19th century Romanticism.
[check out our exclusive interview with Tom Hess]

#5 Hess / Opus 2
Opus 2 sees Hess pick up where Opus 1 finished with even more skill.
[check out our exclusive interview with Tom Hess]

#6 Theodore Ziras / Trained To Play
Classic sweep arpeggios, searing extended solo sections, memorable themes, and overall extraordinary playing mark this debut CD, and cement his place in the roster of notable neo-classical shredders.

#7 Francesco Fareri / Forbidden Dimension
Forbidden Dimension is the title of Italian shred guitarist Francesco Fareri's second album, and it includes eight all instrumental tracks in the progressive/shred style. Fareri recruited some great players to contribute to the CD, including Kyle Honea (bass), Jon Doman (drums), Bob Katsionis (keyboard solos) and Vitalij Kuprij (piano, keyboards), and also enlisted the help andexperience of Greg Howe in the recording and engineering of the drum tracks. More shred than neo-classical.

#8 Ark Storm / The Everlasting Wheel
Ark Storm are challenging fellow Japanese neo-classical exponents Concerto Moon for the title of Japan's best metal export. Ark Storm are led by guitar ace Katsu Ohta who is probably Japan's answer to Yngwie Malmsteen and comes with an excellent reputation. If you like quality neo-classical metal then Ark Storm serve it up in abundance.

#9 Michael Romeo / The Dark Chapter
Romeo is an incredibly accomplished player drawing on a neo-classical style reminiscent of Yngwie Malmsteen while retaining his own identifiable signature that sets him apart from other players in this genre. He has received major coverage in many of the guitar magazines around the world and is best known for his role as lead guitarist in Symphony X.

#10 Matt Mills Project / Matt Mills Project
The twelve all instrumental tracks feature a smorgasbord of large, swept arpeggiated sequences, diminished patterns and pedaled passages (ala Malmsteen and Moore) - with Mills' guitaristic prowess comes through strikingly on every track.

Album review

2006-09-30T10:17:00.000Z

MARCO FERRIGNO - HANGING GARDENS
Lion Music
LMC182 / Out Now

Three years after his last release under the "Ferrigno, Leal, Kuprij" banner Marco is back with more neo-classical firepower and this, his debut solo album is a very intricately detailed release with a lot of fretwork but also a lot of melody. One of the most immediate comparisons to Marco's very fluid style of play is similar to that of George Bellas and its not real surprise to discover that Marco has taught under George. That said you the two are quite easily seperable as you find out on the track Bellas guests on.

The album opens with the progressive "Temple Of Time" which sees a nice mix of slower melodic lead lines and faster licks and runs. Musically Marco has a very tight backing band in the guise of bass legend Tony Franklin (Blue Murder / The Firm) and drummer Marco Minnemann. As mentioned we get a guest appearance from George Bellas on the second track “Night In Babylon” and this is another more progressive offering and again a nice mix of fast and slower passages. What really put the progressive slant into this release in the Marco’s use of odd tempos, poly-rhythmic lines and time modulations based on a 16th and 8th note pulse, so there is no real Malmsteen style harmonic minor burners here with the final track “Closer To The Wind” getting the nearest to that territory of neo-classical.

Overall Marco has produced an enjoyable album which has a lot of guitar flash backed up by sound backing tracks and that hold the interest. My only criticism would be that the tracks all seem to be around the same sort of tempo but this minor flaw doesn’t devalue the end product and the album comes recommended.

New online video clips

2006-09-30T09:34:00.000Z

A couple of great new clips posted online.... check them out!

CHRIS IMPELLITTERI

The official Chris Impellitteri website have just posted a great new video of Chris running through some practise excercises on his new Engl amps. To download the wmv click here

CEM KOKSAL w/ JOE LYNN TURNER

Ex Yngwie/Rainbow vocalist Joe Lynn Turner recently joined Turkish neo-classical guitarist Cem Koksal for a string of live dates playing to crowds of over 10,000 on the Coca Cola Soundwave tour. Footage for a possible DVD release was filmed and Cem has been working on the editing. To view some of the click here (your popup blocker may hide this).

As soon as we get more information on this "possible" DVD we will let you know.

Neo-Classical Chart - August 2006

2006-09-23T17:16:00.000Z

A little late on posting the monthly top 10 bestselllers on the neo-classical chart at www.guitar9.com this month but here we go...

#1 Matthew Mills / Neo Classical Rock Guitar
The album is for strong and healthy guitar fanatics - NeoClassical Rock Guitar is not recommended for the malnourished, faint-of-heart, or anyone taking the thousands of drugs advertised on prime time television.

#2 Hess / Opus 1
The CD features a new breed of high caliber instrumental guitar compositions combining the neo-classical styles of Yngwie Malmsteen and Jason Becker with the progressive rock styles of Dream Theater and George Bellas, along with the emotion of 19th century Romanticism.
[check out our exclusive interview with Tom Hess]

#3 Michael Romeo / The Dark Chapter
Romeo is an incredibly accomplished player drawing on a neo-classical style reminiscent of Yngwie Malmsteen while retaining his own identifiable signature that sets him apart from other players in this genre. He has received major coverage in many of the guitar magazines around the world and is best known for his role as lead guitarist in Symphony X.

#4 Matt Mills Project / Matt Mills Project
The twelve all instrumental tracks feature a smorgasbord of large, swept arpeggiated sequences, diminished patterns and pedaled passages (ala Malmsteen and Moore) - with Mills' guitaristic prowess comes through strikingly on every track.

#5 Timo Tolkki / Classical Variations & Themes
Classical Variations And Themes is the re-release of Stratovarius guitarist Timo Tolkki's 1994, neo-classically flavored, melodic metal solo outing.

#6 German Schauss / The Lightspeeder
Mind-blowingly fast sweeps. Complex, classically influenced progressions. Odd, even and fractional meters. Shredded, corpse-chopping, speed picking. A head-splittingly large number of notes! All this and more can be heard on German Schauss' CD The Lightspeeder, a collection of seven neo-classical progressive instrumentals designed to shock, awe and make you soil your drawers.

#7 Theodore Ziras / Virtual Virtuosity
Classic sweep arpeggios, searing extended solo sections, memorable themes, and overall extraordinary playing mark this CD, Ziras' second, and cement his place in the roster of notable neo-classical shredders.

#8 Tony MacAlpine / Edge Of Insanity
Edge Of Insanity is the incredible neo-classical fusion album recorded with renowned bassist Billy Sheehan and drummer Steve Smith who combined with MacAlpine for one of the hottest power trios of all time.

#9 George Bellas / Mind Over Matter
Mind Over Matter is George Bellas' second Shrapnel release, and finds the guitarist perfecting his neo-classical approach, while evoking shades of Jason Becker in places.
[check out our exclusive interview with George Bellas]

#10 Bob Katsionis - Imaginery Force
An instrumental virtuoso progressive/neoclassical/metal album with amazing keyboards and guitars, entitled Imaginary Force. The tempos are fast and furious as Katsionis' mega rhythms and blazing guitar work are almost upstaged by his ultra-frightening keyboard solos,

News Update

2006-09-15T08:03:00.000Z

Neo-Classical News Round Up

My apologies for the lack of updates over the last couple of months. Throw in a hectic schedule at work, moving house and much more and the weeks quickly pass by. In the meantime here's some news....

Chris Impellitteri

Chris has posted the following update on his official website.

The new music for "Good and Evil" is officially written, and it is time to start the recording. I am very excited about this material because I challenged myself to push the envelope and grow artistically. The writing process was definitely time consuming because I wanted these songs to inspire people and excite them. So I knew that this CD had to be better than anything I have done to date. Fortunately, I have all this positive energy and motivation which led to some really amazing riffs and crazy soloing. This music is definitely Metal with lots of fast shredding guitar solos and screaming vocals. The Rhythms are heavy and addictive and the vibe is positive with lots of energy....

As many of you know, I don't like to interact with the media very often, but if this recording turns out well, I will promote this release heavily and tour extensively. But, first thing is first, so I am headed into the studio with my boys and hope to see all of you soon !!
Thanks for all of your support !!!!!!!!

Kindest Regards,
Chris Impellitteri

Chris has also just become a new endorser of Engl amps.

Naturally we will try and get another interview with Chris once the album is out to get a deeper look into it. In the meantime check our older interview with Chris here.

Marco Ferrigno
Hanging Gardens is a great new instrumental opus fron neo-classical guitarist Marco Ferrigno. The album is out now on Lion Music and features George Bellas on one track in addition to bass work from the mighty Tony Franklin. Check it out at http://www.lionmusic.com/ferrigno_gardens.htm

Yngwie Malmsteen
The Maestro contines his assault on the worlds live stages with a string of new dates announced for Asia/Australia. Yngwie is currently working on a new studio album as well.

2006 Asia/Australia Tour
NOVEMBER 4: BANGKOK, THAILAND - THUNDERDOME

NOVEMBER 6: HONG KONG - HONG KONG INTERNATIONAL TRADE & EXHIBITION CENTER (HITEC)

NOVEMBER 9: SINGAPORE - FORT CANNING PARK (OUT DOOR VENUE)

NOVEMBER 11: TAIWAN - FAMILY THEATER, TAIPEI

NOVEMBER 14: BRISBANE, AUSTRALIA – THE ARENA COMPLEX

NOVEMBER 15: SYDNEY, AUSTRALIA – ENMORE THEATER

NOVEMBER 16: MELBOURNE, AUSTRALIA – PALACE ENTERTAINMENT COMPLEX

NOVEMBER 17: ADELAIDE, AUSTRALIA – THEBARTON THEATER

NOVEMBER 19: PERTH, AUSTRALIA – METRO CITY

Joe Stump
It looks like the new Joe Stump instructional DVD entitled "Neo-Classical Guitar 3" is available on September 20th from www.shredacademy.com, more details as I get them.

Underground Artist - Jonas Hörnqvist (9th July 06)

2006-07-09T22:30:00.000Z

Jonas Hörnqvist started playing the guitar 1983 at the age of 12, inspired by guitarplayers like Ace Frehley, Michael Schenker, Uli Jon Roth and Gary Moore.

A year after Jonas started playing guitar, Jonas put his first band together and played live at some schools and even some backyard partys. Songs in the setlist included only KISS songs.
Summer of 1985 changed Jonas playing totally when he heard Yngwie J Malmsteen for the first time. Jonas also discovered jazz/rock guitarplayer Al Di Meola that summer. This lead to an almost obsessive guitar practicing period since Jonas wanted to take his guitarplaying to a higher level.

In 1987, Jonas was in the biggest rock band competition ever held in Sweden, playing live in front of 2500 people with his band Calilio. A year later his band signed a record deal which resulted in a single (Lips/I remember you) that sold well over all of Europe.
By the end of 1991, Jonas disolved his band and started to work on more progressive songs, during 1991 Jonas also recorded a 8 song instrumental demo which sold almost 2000 copies world wide.

In 1993 Jonas put together the band he still have today, Treasure Land. In April 1996 Treasure Land signed a world wide record deal with German label Modern Music.
Two cd’s later (”Questions” released 1997 and ”Gateway” released 1998) Treasure Land parted ways with the label.

Treasure Land also participated in two tribute cd’s:Power from the north – Sweden rocks the world 1999 A guitar odyssey – A tribute to Yngwie J Malmsteen 2000
Treasure Land is currently writing songs for a 3rd CD after some years of doing other music stuff.
Jonas have also written 3 books about ”Guitar technique” written for the Swedish market.
There will also be 3 instructional dvd’s.
Jonas is currently teaching 35-40 students a week, both privately and online. At the moment, Jonas have students from USA, Italy, France, Germany, Denmark, Canada and Sweden.

Some impressive press quotes state...

Guitarist Jonas Hornqvist is a class neoclassical guitarist who is without a doubt one of the most talented uprising stars in Progressive metal.(Metal warriors - Australia)

J. Hörnqvist is a high class stringbender mixing flashy technique with Yngwiesque feeling.(Janne Stark. Author of "The Encyclopedia of Swedish Hardrock and Heavy Metal - Sweden)

Jonas Hornqvist is a man on a mission. I listen in utter amazement of his guitar work.(Metallic Symphonies - Greece)

Baroque & Roll hopes to interview Jonas very soon.

Web Links
http://www.jonashornqvist.com
http://www.myspace.com/jonashornqvist
http://www.treasureland.nu/

Underground Artist - Anthony Bracaglia (5th July 2006)

2006-07-05T21:47:00.000Z

Anthony Bracaglia was born in 1971 in Queens, New York and began to play guitar at age 13 but didn’t take much interest until he heard a young Yngwie Malmsteen in Steeler. The new sound he heard was something that really took a hold of him. At around the same time he discovered Shrapnel Records and found many great players such as Vinnie Moore and Paul Gilbert who were further sources of inspiration. The following years saw Anthony practising to achieve the levels of guitar player of his mentors.

In recent years Bracaglia played with a short lived band ‘Pounding Mound’ and working with Barry Alpert on his ‘Faith In Chaos’ projects. Early 2005 saw Anthony starting to write his own material and recorded some material for his own demo ‘Time Will Tell’ which is hoped to be completed very soon.

Bracaglia’s website is home to some excellent neo-classical instrumentals as well as a mouth watering collection of amps and guitars - one to watch!

Check out Anthony now at his official website and myspace page.

Neo-Classical Charts (month of June 06)

2006-07-04T22:03:00.000Z

Courtesy of www.guitar9.com

1. Michael Romeo
The Dark Chapter
Romeo is an incredibly accomplished player drawing on a neo-classical style reminiscent of Yngwie Malmsteen while retaining his own identifiable signature that sets him apart from other players in this genre. He has received major coverage in many of the guitar magazines around the world and is best known for his role as lead guitarist in Symphony X.
Baroque & Roll comments - perhaps more prog metal than all out neo-classical but some nice classical themese and arpeggio ideas throughout.

2. Joey Taffola
Out Of The Sun
Guitarist Joey Tafolla teamed with two heavyweights - Tony MacAlpine (keyboards, melodies and production) and Paul Gilbert (guest guitar solos on four tracks) - and the result is a melodic metal feast topped with a barrage of ripping guitar solos and furious keyboard accompaniment. Tafolla's debut is powered by the rhythm section of former Rising Force bassist Wally Voss and innovative drummer Reynold Carlson.

3. Vinnie Moore
Time Odyssey
Time Odyssey was Vinnie Moore's 1988 follow up to "Mind's Eye" and was released on the Squawk label (a division of PolyGram Records), which also released the amazing "Maximum Security" by Tony MacAlpine. This release ontinues the neo-classical metal backdrop of his first album, while keeping shred guitar fans happy with cuts like "Prelude/Into The Future" and "Race With Destiny".

4. Yngwie J Malmsteen
Instrumental Best Album
Imagine taking the best of the Yngwie Malmsteen instrumental tracks from the Pony Canyon years, putting them together on one CD and putting it out for all the instrumental fans out there. What would you call it? How about the Instrumental Best Album?

5. Theodore Ziras
Virtual Virtuosity
Greece's Theodore Ziras' brilliant neo-classical release Virtual Virtuosity. Classic sweep arpeggios, searing extended solo sections, memorable themes, and overall extraordinary playing mark this CD, Ziras' second, and cement his place in the roster of notable neo-classical shredders. Inspired by Bach, Vivaldi and Paganini, as well as a host of modern players such as George Bellas, John Petrucci and Jason Becker, Ziras played all the instruments and did all the recording, mixing, mastering and production himself.

6. Borislav Mitic
Fantasy
Fantasy is guitarist Borislav Mitic's 1996 Yugoslavian release which eventually led to his signing with Shrapnel Records. Featuring original compositions and works by Paganini, Handel and Bach, the CD is a neo-classical shredfest in every sense of the word.
Baroque & Roll comments - A good release but try and hunt down the self-titled release on Shrapnel Records, sadly long out of print

7. Hideaki Nakama
Point Of No Return
Hideaki Nakama, a neo-classical and metal guitarist who gained fame with the hard rock band Hurry Scuary released a mostly instrumental showcase album in 1989 called Point Of No Return. The CD features seven instrumental tracks, along with two vocal numbers sung by bassist Norio Sakai.

8. Hess
Opus 1
Hess, featuring guitarist Tom Hess, guitarist Mike Walsh and drummer Chris Dowgun come screaming out of Illinois with their 12 track debut album Opus 1. The CD features a new breed of high caliber instrumental guitar compositions combining the neo-classical styles of Yngwie Malmsteen and Jason Becker with the progressive rock styles of Dream Theater and George Bellas, along with the emotion of 19th century Romanticism.
Baroque & Roll comments: Be sure to check our Baroque & Roll's interview with Tom Hess here.

9. Matt Mills Project
Matt Mills Project
Loaded with blazing fretfire and a true contender for the NPM (notes per minute) award is the Matt Mills Project self-titled CD. The twelve all instrumental tracks feature a smorgasbord of large, swept arpeggiated sequences, diminished patterns and pedaled passages (ala Malmsteen and Moore) - with Mills' guitaristic prowess comes through strikingly on every track. He also favors a lot of harmonized lines -- a Malmsteen favorite -- and the song "Drive" is a showcase of this aspect of Mill's style. The Guitar Mania site even remarked, "Neo-Classical guitar has a new force - his name is Matthew Mills. Not since Malmsteen or Stump have we heard such a melodic assault of harmonized arpeggios combined with catchy melodies and awesome, jaw dropping technique." A true arpeggiated assault.

10. George Bellas
Venomous Fingers
The third release from one of neo-classical's leading players. Loaded with deft fretwork, progressive frameworks and that Bellas "butter tone". A fantastic slice of fretboard action.
Baroque & Roll comments - read our interview with George here

James Byrd Interview - 2nd July 2006

2006-07-02T21:05:00.000Z

James Byrd is my all time favourite guitarist simple as that. However, to many he is criminally unknown except for those that may have heard Yngwie Malmsteen mention his name in interviews (Yes a player Malmsteen has praised). To find out about Byrd's career in detail I suggest you read our write up on him here, for those wishing to get straight to the interview then an opening paragraph from that profile should tell you everything you need to know - Byrd has one of the purest tones you will hear and his entire catalogue screams quality and is essential listening. His guitar work showcases what the instrument is capable of in the right hands with his immense note choice, clean speed picking, superb vibrato and original phrasing - Byrd is "a players player" and anyone that takes the time to investigate his music further will be blown away – (a baroque and roll.com guarantee) - simply if you have yet to check out any of Byrd's work then get on over to Guitar9.com via the following links and purchase any of these albums.

http://www.guitar9.com/guitarmusic9/anthem.html

http://www.guitar9.com/guitarmusic9/flyingbeyond.html

http://www.guitar9.com/guitarmusic9/crimesofvirtuosity.html

Now on with the interview.

James many thanks for participating in this interview with Baroque & Roll.
JB: Thank you

If we can start bang up-to date and talk about your recently formed company Byrd ™ Guitars (

http://www.byrdguitars.com). Can you give us some background into why you started your own guitar company, especially given the major endorsement deals you have had in the past?
JB: It really didn’t start out that way. I mean, I wasn’t intent on creating a company. It all started one day with my frustration with my Strat’s ergonomics and in particular, a cut I got on my right hand from a pickguard screw which had gone rusty and presented a miniature razor from the chrome plate lifting. I was actually recording solos for Crimes of Virtuosity when it happened, and I realized there was actually blood smeared on the pickguard. Pretty rock and roll really, but at the times, I was really pissed about it. The studio can be a frustrating place sometimes, so I’m sure that added to it. Later that day I was looking at my Strat and wondering why it was the way it was. I mean I knew the history of Fender very well, so it was rhetorical. All of a had a sudden realization that of all people, I was actually in a very good position to design my own guitar, and to finally have exactly what I’d always wanted.

The Super Avianti ® really is a beautiful guitar to look at, yet is quite unique as well, what led to the body design and headstock design?
JB: I’ve been associated with two instruments in my professional career; the Gibson Flying V ®, and the Fender Stratocaster ®. There were things I liked about both guitars, but I’d settled on the Fender ® as being closest to giving me everything. Two things I didn’t like about the Fender ® though, were the lower body horn, and the headstock. The lower body horn was put there for people who find sitting with the guitar over their right leg, and not playing above the 10th fret to be among their priorities, and although I liked the looks of the headstock, I knew it was actually backwards from an engineering perspective; it’s design raised the string tension on the highest strings dramatically. The only thing I really liked about the Flying V ® were it’s lack of a body horn, and it seemed to have some interesting acoustical properties as well. I didn’t like the humbucking pickups or the controls and fixed bridge, and it was also not well balanced on the strap. Now these were all things I already knew, but really, the guitar’s design just came rushing to me in one drawing; I took the basic ‘V’ shape, and added length to the lower wing while shortening the upper wing to put the center of gravity below the centerline and to make the right arm position better, and I designed the headstock with the four higher strings (D through E) in a left handed configuration to re-balance the string tension and eliminate the need for string trees.
There was really a lot more than that to it, but that was the initial concept. I also decided that while I was at it, I’d try inlaying the pickguard assembly into the face of the guitar to make it smoother, going back to my original cut hand as inspiration. Obviously I also decided to use better designed screws that were truly flush and wouldn’t rust. When I finally had the first guitar in hand, I thought is played and sounded brilliantly. The man who’d helped me build the first guitar is a guy named Lynn Ellsworth, founder of Boogie Body ™ guitars. He was something of a saint to me, and when we assembled the first guitar, he really thought I was onto something and said so. It was then that I sort of fell into the whole thing in a way I hadn’t intended, thinking that my guitar had real potential for everyone of a particular playing bent. All refinements of the design took place between 14 prototypes, each one slightly more evolved than the previous. The headstock was enlarged because it gave a better sound, the contours on the body were refined from one to the next, and experiments with routing ended up creating a large tone chamber. The neck joint went through 4 different versions; the first being like a Strat ® with the metal plate and four screws, then a square neck heel with a contour and four screws, then an extended sculpted 5 bolt neck joint, and finally, a slightly less extended contoured neck heel with four bolts. It was all a lot of time spent evaluating comfort and performance.

Obviously this site is aimed at neo-classical metal fans and being a pioneer of the style why would you recommend the Super Avianti® to anyone looking into potentially buying a new instrument?
JB: If you love a great Strat ® sound, plus additional pickup combinations (it has seven), plus some really fat sounds all it’s own, and more comfort from a performance based design, this might be your holy grail. It has it’s priorities, first and foremost being able to get around on the fret board unimpeded. Playing in the upper neck areas is a joy, and even shifting your hand to play sweep arpeggios at the 14th fret is easy on account of the complete access to the last fret. So if you value the notion of nothing interfering with anywhere you want to go on the neck, this is for you. But if you’re someone who insists on sitting down with the guitar over your right leg to play, you’re going to have an argument right away because that was not the priority in the design. This was never my concern because when I sit down to play, I play in the classical position with the guitar between my legs. The Super Avianti ® is the most comfortable guitar I’ve ever played sitting down, and because of the body’s shape, I can actually take both hands of the instrument, and it just stays there. It’s also designed to stay in tune during radical tremolo abuse without a locking tremolo system. Because of my headstock design, these things truly stay in tune when you use the trem.

The custom scalloped neck work you do is again unique, what led to this design and did you have a similar scallop on your previous Strats/ESP’s?
JB: My endorsement guitars has ordinary scalloping if I requested the companies to scallop the necks, but the guitars I did myself, I scalloped in what I thought was a better way; removing wood exactly where your fingers are placed, as opposed to directly in the middle of the fingerboard.

Tonally what can this guitar do that you were unable to do with other guitars?
JB: Because of the scale length (25.5) and pickups (single coil sized noiseless DiMarzio ® Virtual ® pickups ), the basic tonality is very much like a Strat. But it has more sustain, and a fuller bottom end to the sound because of the body size and shape, and the tone chambering. Because of the 2 additional pickup combinations I added over the standard 5-way set-up, I can turn on the neck pick and bridge pickup together, or all three pickups at once. I also put the tone controls on the neck and the bridge instead of the neck and the middle. As a result, I can get all the Stratty sounds, plus Gibson ® like fatness, and with all 3 pickups on, it gets a hollowish tone very similar to Brian May’s tone on ‘Bohemian Rhapsody’. It’s just really versatile, playable, and as I said, it stays in tune like a rock. Before I designed these guitars, all my guitars had Floyd Rose ® locking tremolos on them. Now none of my guitars have them. The sound is much better without the Floyd Rose ®.

Music, you have been quiet since the release of the stunning ‘Byrd – Anthem’ back in 2002, can we expect any new music in the near future?
JB: Yes, but I’m sorry to say that I’m not immersed in anything recording-wise at the moment. I went through a lot of really difficult times between a spinal injury I suffered in 2001, the artistic difficulties of 9-11, and the death of my Father in 2004, just a bunch of negative stuff. So I’ve been taking a break from composing and recording because I just don’t feel like dealing with certain emotions for a while. The short answer is when I feel ready to pour my heart into it, and right now, I don’t.

Going back to ‘Anthem’, that release is in my top 3 all time favorites and still a couple of hundred listens on inspires and speaks to me. Yet it’s quite advanced from your earlier works such as Atlantis Rising or The Apocalypse Chime. How do you view that album now looking back?
JB: Honestly, I can’t even listen to it. Making that album was actually nothing short of hellish. I was on so many narcotics for pain from my back injury, it was just a bad trip. It was physically painful to even sit with the guitar, and it took forever to record because the narcotics really effected my short term memory badly. If I left off on something for more than a day, I’d have to re-learn things, and the pain I was in made it very difficult to spend more than 45 minutes at a time sitting in the studio (I was actually in a wheel chair some of the time, and laid out on in bed the rest of the time for several months). They had me on dilaudid morphine and phentynol, a drug supposedly 10 times more powerful than heroin. I’d glad someone likes the album because I just have this association with physical pain, 9-11 anxiety and frustration with the recording album that almost makes me sick to listen to it today.

Compositionally it’s immense and your guitar work is the icing on the cake to many degrees. Was the material written with guitar in mind foremost and did you approach for that album differ radically from your previous works?
JB: Everything was composed apart from the guitar. I think the pain that holding the guitar created probably made that decision easy to make, but yes, the guitar was intended to be entirely supported as opposed to being the support. I composed everything on the keyboard, and that too added a lot to the frustration of making the album because I’m not a keyboard player; I’d have the lines in my head (what there was of it anyway!), and then have to learn them on the keyboards. I recorded all the orchestration as single lines. If you hear 30 violins and cellos, it was 30 single note recordings of each sample. Plus I was doing some of the engineering by myself. Try keeping track of that when you’re drugged into numb oblivion (don’t). But the good thing is, I’ve learned I’d make a lousy drug addict. I hate the way that stuff made me feel, the way they affected me, and although it took me months to taper off all the medications because of the physical addiction, I’m not someone who’s ever going to end up hooked on narcotics. I’d rather stick pins in my eyes than be on them again.

You have a large back catalogue of material. What album gave you the most headaches from start to finish and does that in anyway detract from your attachment to the album?
JB: Well I think I’ve answered that one haven’t I.

Your growth as a musician is quite clear to anyone that listens to your back catalogue. But how do you feel you have grown as a musician/artist over your career?
JB: I wish I could answer that, I really do. It’s one of the things I’m trying to figure out right now. I’ve “grown” to the point of being sick of even hearing my own music. That’s the truth. I’m so self-critical, I’ve criticized myself right out of wanting to make an album at the moment. You know I’ve changed directions within my direction so many times, and it’s really because my relationship with music is a love-hate affair. Once I’ve gone in a particular direction, I’m just always dissatisfied and feel like there must be something “more”. I know it’s actually a liability commercially because people naturally want the second album they purchase from an artist, to have some bearing on the previous one. And a lot of people do that, in fact most try to do that. Well, I did that one time with Anthem, deliberately picking up on where I’d left off conceptually with Flying Beyond the 9, and it’s hard to be objective on account of the other factors, but now I’m just tired of the whole approach right now. I’m trying to figure out what’s left within what I consider my musical parameters. I don’t really care for progressive Jazz, but honestly, I’m just kind of at the point where I wish there were more than 12 notes to work with, you know? I’ve got so many different approaches to music in me, many of them things I’ve never recorded (like big-band stuff, traditional blues and rockabilly) but making an album requires a certain unification of focus. That’s why I’m taking a break, that and the other reasons I mentioned. Obviously commercial considerations have little to do with what I’ve been about musically or I’d never have bothered to make the albums I make. Sometimes you just have to question everything and stew for a while, and that’s where I am right now.

Over the last few years you have also appeared on a few tribute albums, your working of Uli Jon Roth’s ‘Still So Many Lives Away’ stood out a million miles from any other on the Uli tribute, what do you try to do when doing a cover version?
JB: You really think so? That’s nice of you to say. I didn’t see the point in playing Uli’s solo note for note. If someone really wanted to hear that, well, they can just listen to the original. And Uli played a truly brilliant solo in my opinion. I’ve never seen the point of becoming a human tape recorder on these tribute albums. That’s what most guys do I know, but my feeling is why do it at all if you’re going to do that. I just tried to take the vibe, and work within what I considered it’s wider intent, with my own choice of notes. To maybe play something in the same spirit, but not the same notes.

You recently contributed to a Frank Marino tribute; can you tell the readers how that came about?
JB: I’ve known Frank for ten years now, and before we became friends, I was a huge fan of him growing up. Frank introduced me to the guy who runs his website (http://www.mahoganyrush.com) because I was needing some help with my first website. His name is Willy Parsons, otherwise known as “Wild Willy” (http://www.wildwilly.com/) . He’s actually a stand-up comedian in LA and right now he’s in the finals of “The last comic standing” on NBC (http://www.nbc.com/Last_Comic_Standing) . Willy is really responsible for bringing Frank Marino back into the public eye through his web site. Anyway, over the years of knowing Willy, at some point we started discussing the idea of doing a tribute album for Frank. Willy found a financial backer in LA who put up the production money, and I helped Willy decide who we’d try to get on the album.

Getting back to guitar you have the finest vibrato out there and alter it to suit the mood, how long did it take for you to realise you had a unique vibrato – often seen as the players fingerprint.
JB: It was actually hearing a player who had a brilliant vibrato that made me nearly obsessive about developing my own. This goes back a very long way, probably further than most people know, but it was hearing Paul Kossoff of Free that first spun my head. I was in awe of his vibrato. I had it nailed by the time I was 15, and from there, it was a matter of realizing that there were several other vibratos that could be studied and eventually made into a lexicon. Robin Trower was another one, but his was almost the same as Paul Kossoff’s. Hendrix also had a remarkable vibrato at times, and I loved his slow-hand vibrato on the studio side of ‘Voodoo ‘Chile’. The of course there was Blackmore. And then Micheal Schenker. Let’s just say, that I was a connoisseur of the subject. I eventually came to regard different approaches to vibrato, the same way I regarded modes or even notes; why just use the same one all the time? Of course there were other things which came into the mix like using the tremolo. And there’s also length-wise classical vibrato which I use all the time too. That has a whole different sound to it because you’re not only going above the pitch, but below it as well. And sometimes I actually combine using the vibrato arm, and lengthwise classical hand vibrato at the same time. It's extremely tricky to do, but it has a wholly unique sound to it. That’s what I did on the intro to “Goodbye my Love” (Crimes of Virtuosity) along with the volume swells.

Your use of speed is also more selective than many other players in the neo-classical genre, what do you aim for when it comes to solo time?
JB: It really isn’t a conscious thing, it just evolves as I familiarize myself with the music.

What is your most challenging lead break recorded to date?
JB: That’s really hard to answer because when I first record them, they’re all challenging. The only way to answer that is to think in terms of having to go back and exactly play them note for note. Some of them are more structured than others, so it’s easier to go back and know exactly what I was doing. But some of those structures are physically insane (see TAB examples below, MIDIFILE: http://www.geocities.com/strat110/solo1.mid) .

Going Home solo tab p.1 [click to englarge]

Going Home solo tab p.2 [click to englarge]

Going Home solo tab p.3 [click to englarge]

Going Home solo tab p.4 [click to englarge]

Going Home solo tab p.5 [click to englarge]

I see you also recently launched your own myspace page. What do you think of the myspace phenomena and can you see it going the same way as the original mp3.com?
JB: I think it’s hilarious! I mean really, think about it. What IS it? It’s a lot like a bunch of people congregating in some empty field for no reason. Why am I there? Because everyone else is there. I can’t even remember how I got there! It doesn’t really do anything. It’s just a social cluster-fuck. It’s a bunch of people all standing in the same place, and I don’t think a single one of them could tell you why they’re there other than the fact that everyone else is also there. Maybe it’s like some guy on a sidewalk who decides to stand there and look up and point, you know? Pretty soon there’s a crowd all standing there looking up and pointing at the sky. People are strange and have a herd mentality. As to any comparison to MP3, I don’t know. People are also opportunists, so I’m sure that eventually someone’s going to try to make more money out of it for the shareholders. I guess the bottom line is that it’s a nice place to put pictures and music for now, but like MP3, I wouldn’t ever pay for the privilege if the owners get greedy. I’m just there because it’s there, and it allows me to engage in shameless self-promotion free of bandwidth charge. Does anyone really need a better reason than that? http://www.myspace.com/guitaristjamesbyrd

James Byrd Links

http://www.jamesbyrd.com

http://www.byrdguitars.com

Now check out some of Byrd's work!

2nd July 2006 Underground Artist - Raj Mohan

2006-07-02T17:19:00.000Z

Feel the need... the need for speed? Well if so you’re in the right place, for speedy guitar stuff anyway. Raj Mohan is a guitar player and instructor from Los Angeles, CA. Right now he's recording his instrumental solo album tentatively titled 'Strat Out Of Hell' as well as teaching lessons and writing stuff for his band Warrden. If you are into today’s new breed of “super shredders” such as Rusty Cooley, Francesco Fareri and others, or if you just like classically influenced guitar playing that is super fast, then you will probably like what you hear!

To find out more about Raj check out his website here

Neo-Classical News 1st July 2006

2006-07-01T21:51:00.000Z

Back after a hectic June during which time I got married and plenty of good things coming your way including an interview with James Byrd, reviews of the Joe Stump instructional DVD's and much more! In the meantime here is the latest neo-classical news happenings.

Happy Birthday Yngwie

Yngwie turned 43 on June 30th, Baroque & Roll send our congratulations and best wishes for another neo-classical filled year.

George Bellas opens new webstore

Looking for some of the leading instructional tools, software and more? Then be sure to check out the new George Bellas webstore for a variety of goodies. To enter click here

Jose Del Rio - Chilean guitar master to unleash debut release

Jose Del Rio is an exciting guitarist hailing from Chile who is set to release his debut album entitled 'Journey Into The Fourth Dimension' on Lion Music on July 21st. The album includes guest keyboard performances from Vitalij Kuprij [Artension / Ring Of Fire] is features rich orchestration along with frightening speed, including a cover of 'Flight Of The Bumblebee' recorded at 300 bpm! For more info check http://www.lionmusic.com/fourthdimension.htm

Marco Ferrigno ready to release 'Hanging Gardens'
Also on Lion Music is the forthcoming release in August of another neo-classical tinted release, Marco Ferrigno - Hanging Gardens. Readers may be familiar with the Ferrigno name from the Ferrigno, Leal, Kuprij album released on Lion a few years back. More information on this release to follow next month but we can announce that George Bellas guests on the album as well as bass parts being handled by virtuoso Tony Franklin (Blue Murder / Liquid Tension Experiment).

Vitalij Kuprij's Revenge set to Rock Mexico City with Joe Stump's Reign Of Terror
Vitalij's REVENGE will be the main band for the Expo Rock Festival in Mexico City on August 17th, support comes from Joe Stump's Reign Of Terror and Ron Thals Bumblefoot.

Joe Stump begins work on new solo album and instructional DVD

In addition to the Holy Hell disc which Joe has spent the last 2 months recording for, he's also got a new solo record in the pipes, with all of the material composed. Joe is preparing to start work on that after the guitars are finished with Holy Hell.
Another new instructional DVD, Neo-Classical Guitar 3 is also done. This DVD focuses on Baroque style classical pedal point and linear playing. As with the previous DVD, it contains quite a bit of instructional content, performance footage, and yes, plenty of gratuitous shredding. It should be released by the Shred Academy soon, look out for Baroque & Roll's review of Joe's currently available DVD's very soon.

Neo-classical Charts (Month of May 06)

2006-06-06T23:11:00.000Z

Courtesy of www.guitar9.com

1. Michael Romeo
The Dark Chapter
Romeo is an incredibly accomplished player drawing on a neo-classical style reminiscent of Yngwie Malmsteen while retaining his own identifiable signature that sets him apart from other players in this genre. He has received major coverage in many of the guitar magazines around the world and is best known for his role as lead guitarist in Symphony X.

2. Hess
Opus 2
The music of Opus 2 is rich in musical depth, progressive key changes and rhythms, orchestration, great passions of emotion, and of course, extreme double virtuoso guitar work. You have heard progressive bands, instrumental shred guitar masters, neoclassical virtuosos, cool film music and very dramatically expressive music before, but the only place you are likely to hear all of this in one CD is Opus 2.
Baroque & Roll comment: Be sure to check our Baroque & Roll's interview with Tom Hess now.

3. Hess
Opus 1
Hess, featuring guitarist Tom Hess, guitarist Mike Walsh and drummer Chris Dowgun come screaming out of Illinois with their 12 track debut album Opus 1. The CD features a new breed of high caliber instrumental guitar compositions combining the neo-classical styles of Yngwie Malmsteen and Jason Becker with the progressive rock styles of Dream Theater and George Bellas, along with the emotion of 19th century Romanticism.
Baroque & Roll comment: Be sure to check our Baroque & Roll's interview with Tom Hess now.

4. Theodore Ziras
Virtual Virtuosity
Greece's Theodore Ziras' brilliant neo-classical release Virtual Virtuosity. Classic sweep arpeggios, searing extended solo sections, memorable themes, and overall extraordinary playing mark this CD, Ziras' second, and cement his place in the roster of notable neo-classical shredders. Inspired by Bach, Vivaldi and Paganini, as well as a host of modern players such as George Bellas, John Petrucci and Jason Becker, Ziras played all the instruments and did all the recording, mixing, mastering and production himself.

5. Borislav Mitic
Fantasy
Fantasy is guitarist Borislav Mitic's 1996 Yugoslavian release which eventually led to his signing with Shrapnel Records. Featuring original compositions and works by Paganini, Handel and Bach, the CD is a neo-classical shredfest in every sense of the word.
Baroque & Roll comment: A good release but try and hunt down the self-titled release on Shrapnel Records, sadly long out of print

6. Yngwie J Malmsteen
Instrumental Best Album
Imagine taking the best of the Yngwie Malmsteen instrumental tracks from the Pony Canyon years, putting them together on one CD and putting it out for all the instrumental fans out there. What would you call it? How about the Instrumental Best Album?

7.Hideaki Nakama
Point Of No Return
Hideaki Nakama, a neo-classical and metal guitarist who gained fame with the hard rock band Hurry Scuary released a mostly instrumental showcase album in 1989 called Point Of No Return. The CD features seven instrumental tracks, along with two vocal numbers sung by bassist Norio Sakai.

8. Michael Harris
Sketches From The Thought Chamber
Sketches From The Thought Chamber, the newest creation from guitarist Michael Harris, represents his first solo release of the new millennium and fourth overall. The CD sheds new light on Harris’ compositional skills and versatility with an amazing collection of songs that range from the compositional ingenuity of "Prognosis" to the twisted fusion elements of "Neuro-Tranzmitter" and the subtle beauty of "A Soul’s Torment".
Baroque & Roll comments: Not strictly neo-classical but has touched of the genre throughout.

9. Joe Stump
Guitar Dominance
Guitar Dominance introduces the world to the full-throttle music of Joe Stump, whose guitar playing at times seems to exceed the limits of human capability. In the neo-classical style of Yngwie Malmsteen and Tony MacAlpine, Stump stakes his own turf with Guitar Dominance, breathing new life into the genre, and establishing himself as a guitar force to be reckoned with.
Baroque & Roll comment - be sure to check out our interview with Joe Stump now.

10. Victor Smolski
Majesty & Passion
This CD is a concept album with Bach's music in the focus. Smolski has taken some of Bach's well known contertos and suites and arranged the music for orchestra and metal band. Not too much has been changed from Bach's versions, yet the musical expression is very much different. The guitar sound playing the melodies and themes is so controlled and dry, showcasing how good a guitarist Smolski actually is.

Archive 27/5/2006 - James Byrd profile

2006-05-27T18:28:00.000Z

James Byrd is perhaps the player out of all featured at Baroque & Roll that should be more renowned than he is. His reputation by those that are familiar with his work is right up at the upper echelon of the genre and he has the honour of being the only guitarist Yngwie has given an uncompensated endorsement to, calling Byrd, "One of the best European sounding guitarists I have heard in years, he definitely has 'the vision' and aims for each note and makes it count". Guitar For The Practising Magazine (now known as Guitar One) listed Byrd in their one-off feature "The 10 best guitarists you have never heard" and he is often quoted by rock guitar legend Frank Marino (Mahogany Rush) as a superb talent.

In addition Byrd has one of the purest tones you will hear and his entire catalogue screams quality and is essential listening. His guitar work showcases what the instrument is capable of in the right hands with his immense note choice, clean speed picking, superb vibrato and original phrasing - Byrd is "a players player" and anyone that takes the time to investigate his music further will be blown away – (a baroque and roll.com guarantee).

I have noted some comments in a couple of places on the web stating that Byrd is nothing more than a Yngwie rip-off. This suggests that either these people have never heard Byrd’s music or they have never heard Yngwie’s music. There are no real comparisons in a compositional sense between Byrd and Malmsteen other than them both being masters of the guitar and many similarities in influences and tastes. Byrd however is the stronger composer and his progression as an artist can clearly be traced over his recording history which dates back to 1983 with the classic debut by Seattle based Melodic Power Metal pioneers Fifth Angel.

In addition Byrd now front his own guitar company Byrd Guitars who produce the truly stunning 'Super Avianti' of which I own one and can recommend it as the number one neo-classical guitar (even above my old beloved Strats).

Biography

Byrd's roots extend back to when he was 9 years old; he had a guitar but was not serious about the instrument until the day Jimi Hendrix died. His first early influences were mostly blues players and within 5 years he was playing like an "old soul" wow-ing much older audiences around the Washington State area. After this Byrd began listening to players like Ritchie Blackmore, Uli Jon Roth (Scorpions era), Al DiMeola, Neal Schon and Michael Schenker amongst others. Byrd uses these players’ styles as a springboard to his own sound and began honing his playing and song writing skills further still.

Aged 18 Byrd went on the road with a heavy metal cover band, performing albums such as UFO's Strangers In The Night and Scorpion's Tokyo Tapes note for note. This band won the "Northwest Battle Of The Bands" and free studio recording time. As the band did not have a single original song, they went in and just played covers live. Byrd decided after a year in this band, he wanted out, but they tried to get him to stay, so the soundman (who also wanted to go) and Byrd took-off in the middle of the night.

In 1980, Byrd put together his first original band with original songs. In late 1981 he moved to L.A. and spent a year there playing with various bands at the usual places (Troubador, Perkins Palace etc.). In late 1982, Byrd had had enough of L.A. and wanted to move back to Seattle to work with two musicians he'd heard before he'd gone to L.A. One was drummer Ken Mary, the other was vocalist Ted Pilot. This was to become Fifth Angel.

The band concentrated solely on writing, rehearsing and producing an album, and then looked for a recording contract. By late 1983, Fifth Angel was in Steve Lawson Productions with Terry Date recording "Fade to Flames", "Fifth Angel", "In the Fallout", and "Wings of Destiny". With this four song demo, about a hundred tapes went out to record companies on a list. Shrapnel Records was on the list, and Byrd felt that if nothing else, they'd sign him. Mike Varney was on the phone after one listen to sign the project. They got a pittance of an advance, but finished the album by cutting five more tracks. The reviews were stellar, and Byrd began getting endorsement offers and interviews. In 1987, Fifth Angel's reputation as an act got them management with 'Concrete Marketing and Management', and a seven-album deal on Epic/CBS who re-released "Fifth Angel" in late 1987/early 1988. The seeds of destruction for Fifth Angel were sown as soon as large sums of money looked likely. Byrd was out of the band he'd created very shortly after the CBS agreement was signed.

In 1988/89, Byrd returned to Shrapnel Records under his own name and recorded James Byrd's Atlantis Rising. A lawsuit between Shrapnel and their distributors left the album in a warehouse for an entire year with no distribution, but still was advertised in major press by Shrapnel. The album did extremely well in Japan and Europe, but by the lawsuit severaly affected sales in the US. Musically the album is an extension of the sound showed on the debut Fifth Angel album, with strong vocal melodies and guitar solos from Byrd that are a near perfect mix of fretboard finesse and melodic content. Metal Hammer in Europe gave the album a 5 star review.

In 1993, Byrd recorded his first instrumental album Octoglomerate. It was this album that brought Yngwie Malmsteen's introduction. Mike Varney played Malmsteen some of the tracks over the phone, and Malmsteen asked for the album. It was sent, and Mike Varney introduced the two guitarists. 1993 also saw an introduction for Byrd to a long-time hero and influence Frank Marino, a close friendship developed between the pair. Frank's comments of praise about Byrd can be found in numerous interviews by Marino.

1995 brought the recording and release of another instrumental album: Son of Man. Yngwie Malmsteen granted his only uncompensated endorsement of another guitarists work for "Son of Man". Several mentions in major guitar magazines by Malmsteen of Byrd as "A great guitarist" created additional press, culminating in inclusion of a feature article in Guitar (GFTPM) Magazine in 1996; "The Ten Best Guitarists You've Never Heard Of". The album was a huge critical success with many publications calling it one of the finest instrumental releases in the history of guitar music. Any self respecting neo-classical fan should track down a copy of this album.

1996 brought the release of The James Byrd Group - The Apocalypse Chime with vocalist Robert Mason [Lynch Mob / Cry Of Love]. This was to be Byrd's fulfilment of his last contract to Shrapnel Records and possessed a strong collection of tracks marred slightly by a weak mix (Byrd states that Shrapnel gave him $1000 to do the album).

In 1997, Byrd returned to the Atlantis Rising name with a new label -JVC Japan, Mascot Europe-and line up. The new album James Byrd's Atlantis Rising - Crimes of Virtuosity was released in 1998 in Japan and Europe. The album gained extremely strong reviews but sadly label promotion was lacking for this superb album. Many high profile magazine articles did follow e.g. Young Guitar, Burn etc.

In 2000 James made Crimes Of Virtuosity available on mp3.com. Repackaged and remastered the album was a big success, featuring the Japanese 'C.O.V.' bonus track 'Shot Down In Flames', and the previously unreleased guitar/orchestra instrumental 'Byrd's Bolero' [whose recording predates Yngwie Malmsteen's Concerto by some 3 years], both were worthy additions from the Byrd vaults. Several tracks from the album scored highly on the mp3 charts, "Metatron 444" was #2 for 9 straight weeks and was still in the Top 20 after 6+ months!

After 3 years of hand building over a dozen prototypes of his signature "Super Avianti" guitar, James started his own 'Byrd Guitars' company in 1999 and began building his guitars for select local clients. Byrd's unique guitar also caught the eye of the NAMM show planning commitee and his guitar was featured as a display in Kentia Hall at the 99 NAMM show

From here Byrd hooked up with European label Lion Music initially for a solo on the Jason Becker Tribute album Warmth In The Wilderness. Byrd's solo is one of the most unique on the entire double cd with his tone and style being instantly recognisable.

May 29th 2001 saw the release of Byrd - Flying Beyond The 9 on Lion Music. The album set new standard for Byrd's career in song writing, production and guitar work. Press reviews were the nothing short of stunning and was Byrd's strongest band based effort to date at that point.

Summer 2002 saw the release of Byrd's strongest release to date - Byrd - Anthem. This album saw the sound of 'Flying Beyond The 9' built upon with a return to the slightly guitar heavier approach of earlier albums. Vocals melodies were again an integral part of the sound and this side of the album shows Byrd's ability to pen timeless memorable melodies and hooks. Symphonic orchestrations were again heavily used and the production of the album is something to savour with Byrd's best guitar work and tone to date.

July 2003 saw Lion Music release Beyond Inspiration - A Tribute To Uli Jon Roth. James contributed the track 'So Many Lives Away'. Many reviews of the album have called this track the highlight, its also the first track to hear the sonic possibilites of Byrd's revamped 'Strange Particle Productions' home studio. The guitar tone is especially strong on this track.

In 2004 Byrd played a guest solo on the Lion Music Jimi Hendrix tribute album The Spirit Live On Vol 2. Byrd contributes a solo to the track Burning Of The Midnight Lamp which showcases his blues guitar ability.

For the past few years James Byrd has been honing his own take on the electric guitar. The company was officially launched in April 2005 which sees the Super Avianti guitar marketed to the public - for more information see the Byrd Guitars website.

Originally released on JVC Victor Japan in 1998, and Mascot Records (Europe) in 1998, Byrd remastered Crimes of Virtuosity with two previously unreleased bonus tracks and all new artwork/inlay for his current label Lion Music which was released in 2005 - another essential purchase.

In 2006, Byrd recorded and produced the track "The World Anthem" for the all-star tribute to Frank Marino of Mahogany Rush fame entitled 'Secondhand Smoke'.

Guitars
Byrd Guitars Super Avianti - Artist Edition

Amps
Marshall 1987 50 watt plexi head.
Marshall 8x10" vintage cabinet.

Effects
Dod 250 Overdrive Preamp
Ibanez TS-9 Tubescreamer
Vox Valvetone
Dunlop Wah

Archive 27/5/2006 - Joe Stump Interview

2006-05-27T17:41:00.000Z

Joe Stump is often credited as taking the neo-classical fury of Malmsteen and Blackmore to even greater extremes. One listen to his solo works such as Supersonic Shred Machine or his latest magnum opus Speed Metal Messiah show an artist with a burning passion for the genre and great guitar playing. Joe has recently started a new project Holy Hell which looks likely to elevate his position higher in the public view. Joe was kind enough to grant baroque and roll its debut interview and gave us a superb read back in September 2005.

2005 has been a busy year for you so far, can you give baroque and roll a summary of what you've been up to?
Well lets see, I did release the Shredology disc, which was an anthology type of collection record and was packaged along with the live Midwest Shredfest bootleg live cd. That came out in March 2005. Then in late April I went back to Europe for a tour playing solo material, Reign of Terror stuff and some killer Rainbow and Purple stuff. I played a bunch of shows and clinics over there and was over for a few weeks. After that I was out on the road for a good portion of time from late May to late July playing some solo shows and also touring with the power metal band Holy Hell. We were out with Manowar and Rhapsody for most of June in the states and then a few large festivals in Europe in July. After I got back from Europe I went to LA and did some clinics and master classes for Berklee out there and then some more solo shows went I got back.

It's currently early Sept. and I've finally been home for a few weeks. The Berklee fall semester is about to start up so back to my day job a bit , but it's always nice to get back home for awhile after so much travelling, but as usual after I'm home too long I get the itch to go back out rather quickly. I'm quite fortunate that for more of an underground guitar hero I get to do fairly sizeable amount of touring. As you can see my dance card's been quite full these days.

Holy Hell is your latest project with Tom Hess; please tell us about this project.
It's working out nice, in the US and in Europe the band was really well received as the opener with Manowar and Rhapsody. We really crushed on a bunch of the shows. A killer female vocalist Maria Breon is fronting the thing and she's gonna be a fucking star. She sings like an angel (and a demon as well at times) looks killer and people really respond to her and the band. Many of my fans came out to see the thing and really dug it. And of course while it's no Joe Stump show guitar -wise I do get plenty of room to do my thing and cause plenty of damage. So we'll see there's a ton of potential there.

What's the current state of play with Reign Of Terror?
Well I'm going to start work on the Holy Hell disc very soon. I've been writing quite a bit and much of the stuff will be for either Holy Hell or my next Reign of Terror disc. I'm hoping to release the next Reign of Terror after the Holy Hell thing drops as with the bigger label support (Magic Circle Music/SPV) and a lot more promotion behind that release, my next ROT disc should cross over to a lot more newer fans. In the meantime I might look back into putting together the live Reign of Terror stuff for a possible live disc. That should tide a lot of my hardcore fans over.

Will you do another album with Mike Vescera as you two were turning into a very powerful song writing force.
I'm really hoping the next Reign of Terror disc is gonna cross over to a larger audience (as I said previously). So of course it'd be great to have Mike onboard with me as he's such a great singer and writes great vocal lines and lyrics. We definitely have a song writing chemistry together, so we'll see what happens when the time comes.

Your last solo album Speed Metal Messiah, how was the album received and what are your thoughts on it now?
My finest hour, I came fairly close to getting it right on that one after 6 solo instrumental records. All my fans were quite pleased and I'm fairly proud of that record. I wish I had gotten more coverage in the American guitar mags on that my best record to date, but Lion a European based label has a little less pull with the mags in the states as opposed to Leviathan. For instance on Shredology I appeared in back to back issues of Guitar World. But overall looking back the Messiah is certainly my pinnacle of that type of classically influenced guitar work and composing.

Do you still get a buzz from neo-classical music?
Yes I love it; I never seem to tire of listening to it or playing it. Even as I've gotten older, I'm still balls out, more so than ever. I'm not about to slow down, or become an old bluesman, or some whacky fusion player. I love metal, especially neo-classical European style stuff and it's what I've chosen to pursue for sometime now and I have no desire to abandon what I love to do. Of course my instrumental stuff covers a fairly large spectrum stylistically, but the classical influence always seems to be there outside of my bluesier Hendrix-y /Frank Marino-ish exploits.

The genre itself seems to be getting new life into it with bands like Ark Storm and Concerto Moon, are you aware of any of these new acts and if so what's your opinion on them?
I like both those bands very much and both Norifumi Shima and Katsu Ohta are outstanding players, killing. Many people that are a bit on the uneducated side tend to lump all of us in together, (meaning classically influenced players) but I can certainly hear the distinct difference between the various bands and players. Both Ark Storm and Concerto Moon have been around for a while , I'm pretty familiar with many of the artists in my same genre, one because I enjoy some of the stuff as a fan and of course because it's good to be aware of the other artists in your field because you're appealing to much of the same fan-base.

I know your very knowledgeable on the history of neo-classical guitar, in your eyes were did it start and do you feel it has yet to be perfected?
Well as I've said it before the holy trinity responsible for the whole genre is Blackmore, Uli Jon Roth and Yngwie. Michael Schenker contributed as well; Randy Rhoads was heavily influenced by both him and Gary Moore guitar-wise. But the big three really wrote the book with Yng obviously taking it further both technically and having a more extreme classical influence, Malmsteen`s compositions were also much more classically influenced also. Where as Uli and Ritchie would infuse the classical elements more into their lead work in the context of a hard rock tune. As far as someone perfecting it that's really more of an objective thing and of course it depends on what you like taste wise as well. Someone once described my playing as bridging the gap between the older school guys like Uli and Blackmore and the newer super shred players, I thought it wasn't that far off.

You favour an ESP Strat through various amps, do you have a particular tone you are chasing and how close to it are you?
Well my favorite records guitar tone wise are --- Deep Purple `s Made in Japan, Made in Europe and Rainbow's Live on Stage. Uli's early Scorpions records like Toyko Tapes, Taken By Force and Virgin Killers. Gary Moore's Corridor's of Power, Victim's of the Future and We Want Moore. And the first Rising Force disc along with Marching Out and Trilogy. My tone is basically a more aggressive blend of the tones of all my heroes and in my hands it always comes out sounding like me. My tone is a bit less gainy than in the past on my earlier records and I quite pleased with it these days. But one common thread between myself and all my heroes is Marshall, there is no substitute. As Jeff Beck says it's the big Daddy, there is no other fucking amp. I'll always have at least one Marshall in my rig whether it be live or on record.

What would you recommend as a starting point for guitar players wishing to play this sort of music?
To listen to the men, don't listen to the fucking boys. Players ask me all the time if I heard this new shred guy or that new guy that plays with insane technique a billion miles an hour. I tell them I don't listen to that type of stuff, when I wanna hear guitar I put on one of the men - meaning Blakemore, Malmsteen, Schenker, Gary Moore or Uli Of course there's a bunch of other guys I could mention as well. But a lot more of the newer more technical players are leaving way too much of the cool -ass element of rock guitar out. There's melody, vibrato, control and vibe, you need that shit along with all the technical command. Rock guitar isn't hot lick number 64 or this fancy ass sweep arpeggio shape.

You have a couple of instructional DVD available on your website, we have just given a glowing review to Neo Classical Guitar vol.1, I believe you are about to start filming vol.2, what will this second instalment cover?
The second neo-classical DVD will be much more advanced and longer as well. I'll cover transcriptions to a few of my solos and pieces of various tunes of mine. In those transcriptions a wide range of techniques will be covered (multi string arpeggios, economy and alternate picking, classical licks and sequences, etc.) I'll also do a section on pedal tones that will be fairly extensive. There will also be a bunch of performance footage as well with me playing full tunes from my various recordings. The reaction from the first neo-classical DVD was very positive so I'm sure everyone will be completely thrilled with the next one.

Do you feel that public interest in the neo-classical genre is better known than it was say 10 years ago?
Yes, It seems like in general more accomplished, technical playing is being embraced and celebrated by a whole new generation of players, which to me is a very healthy thing. 10-12 years ago you were considered uncool as a younger guitarist if you played solos, practiced and aspired to be a virtuoso type of player. The press looked down their nose at it as well. It was certainly a dark period for actual musicians. Plus you see that feature in Guitar World called "Betcha Can`t Play This", I've done one so have Michael Angelo, Rusty Cooley , John Petrucci and ton of other cool players. Plus Yngwie's got a Guitar World instructional column and he's also on the cover of the new Guitar Player issue, so things are certainly headed in the right direction.

Guitar Dominance to Speed Metal Messiah has been quite a journey, do you have any special fond memories of the recording of any of your albums?
Each one of my albums marks a particular period in not just my career, but my life, so I have a ton of memories from all those past experiences. I remember certain tours, shows; trips out of the country for live full on band touring and or clinic tours. Going to countries and cities for the first time. I remember my first sizeable royalty check, the first times I appeared in various guitar magazines and other well known metal fanzines. Guitar players I opened shows for and met that were and still are my heroes, and how many of my heroes became my peers and how I gained their respect, my first major endorsements all the great stuff all players aspire to. Let me tell you that a day doesn't go by that I don't feel completely blessed that I get to do what I love for a living; I never ever take that for granted. I spend every fucking day with a guitar in my hands for hours on end. The best part of it for me has always been the playing, I love to play, I'm more addicted to it now than I ever was and I've continued to grow and progress as a player, all round musician and composer throughout the spectrum of my career. The more I play, the more I tour the better I get. I've just got done playing a ton of shows over the last few months and I'm at the top of my game and then some.

Another thing I do recall is that many of my early records- Night of the Living Shred, Super Sonic Shred Machine, Rapid Fire Rondo were all made when I was doing some fairly reckless living, whether it be boozing, drugs and of course you've gotta have some womanizing in there as well, man does not live by the sweep arpeggio alone. I'm older, wiser and much more focused now and as a result my playing is constantly getting better. If you listen to the Messiah disc you know what I mean. So yeah it's been quite a fun ride.

What would you say the defining moment in your career has been to date?
My career has had many nice moments but as far as he pinnacle of my classically influenced playing and composing goes Speed Metal Messiah would have be it. Granted looking back you're always gonna have things on every record you wish came out differently, but on that one I came pretty fucking close to getting it right and I'm very proud of that record.

What do you have planned for the rest of 2005/2006?
I'll be recording the Holy Hell record, a new Reign of Terror; maybe the live Reign of Terror disc will finally be released. Another neo-classical instructional DVD, maybe a high quality concert solo DVD. A world tour in 2006 with Manowar, Rhapsody and Holy Hell, very long lots of countries and shows. Of course more clinics and solo shows. I've also got a fairly good idea of what my next solo disc will be like and have a bunch of tunes in the pipes for that as well. So tons of cool shit to do, looking forward to the work.

Joe anything else you would like to tell the readers of Baroque & Roll?
Just as always the most sincere, heartfelt thanks to all the fans that have continued to support my stuff over the years and if you haven't been saved by the Messiah as of yet I strongly urge you to pick up Speed Metal Messiah, if you like amazing guitar work and killer guitar driven metal tunes I think you'll be quite pleased. My best to everyone. Thanks Joe Stump

Archive 27/5/06 - Norifumi Shima (Concerto Moon/Double Dealer) Profile

2006-05-22T22:30:00.000Z

Japanese guitarist Norifumi Shima is a player firmly rooted in the neo-classical mold of Yngwie Malmsteen and Ritchie Blackmore. Being the leading member of 'Concerto Moon' and the Japanese super-group 'Double Dealer', Norifumi Shima is building a strong cult following with those interested in this style. With a prolific output - 6 studio albums in 7 years - Shima shows that he is a talented songwriter as well as a top class player.

Concerto Moon play superb neo-classical metal combining the best elements of 80s-era Malmsteen and Rainbow. There is a lot of melody, powerful intricate riffs, extended solo sections, exciting keyboard and guitar duels to be found in their music. The only slight note of caution could be thrown at the Japanese vocals on the bands early albums. By their third album Rain Forest, the band had started to write almost exclusively in English as they recognised the need to reach a wider audience. This led to a much more ear pleasing album to fans outside the land of the rising sun. Luckily it also featured the bands strongest collection of songs to date.

However, the bands two earlier albums all contain exciting dynamic neo-classical metal tracks, the choruses on the majority of songs are in English so there is something for the virgin listener to grasp onto until they become accustomed to the vocals. Run To The Sky from their debut Fragments Of The Moon is an absolute corker of a track from start to finish!

Live the band are a truly exciting act as captured on the live album and video The End Of The Beginning. This live set is a collection of the majority of the bands best material (sadly omitting Run To The Sky). The video is available as a bonus disc (mpeg) with European versions of the CD. I however splashed out $45 on the DVD which was worth it for the extra tracks that were not on the CD and Shima's solo spot. This album would be the best starting point for anyone interested in checking out the band.

The bands fourth studio album Gate Of Triumph saw a change of vocalist. Out went Takao Ozaki to be replaced by Takashi Inoue. The impact of change in vocalist was hard to ascertain as Gate Of Triumph was mostly instrumentals and re-recorded versions of earlier classics. Inoue's vocals do sound more confident than Ozaki's when singing in English and the impact of the change was evident on 2003's Life On The Wire and in particularly 2005's After The Double Cross. These 2 releases really saw Shima come into his own and his style is now easily identifiable - not quite so neo-classical in the rhythm department but overall stronger for it.

Alongside Concerto Moon, Shima also handles guitar duties in the band Double Dealer. The band are essentially a Japanese super group made up of members of Concerto Moon (guitars, keyboards, bass) and Sabre Tiger (vocals, drums). The direction of Double Dealer is similar to Concerto Moon in guitar/keyboard duels, but the music is more straightforward metal in approach. The vocals are also more metal-esque and fans of bands like Accept should feel at home with the gruff vocal aproach of Takenori Shimoyama. Some of the translations from Japanese to English do get a little confused at times e.g. "My straight shout squeezed my soul" but overall the band are another worth checking out with their third and latest album 'Fate & Destiny' being essential listening.

Shima's guitar sound falls between that of Malmsteen and Blackmore. Shima uses Strat style guitars loaded with Duncan Quarter Pounder single coil pickups. Schecter make a signature Shima model for the Japanese market. Shima uses both vintage and modern Marshalls and newer Engl amps (upto Rainforest). His sound is the distinctive distorted single coil tone as favoured by the majority of players in the neo-classical mold.

Shima's effect use is very sparse. You'll hear the occasional octave divider on solos, or a wah pedal, otherwise, its a very pure sound that has a lot of bite and definition.

Technique wise Shima is certainly no slouch. He posseses a superb speed picking technique, is adept at swept arpeggios and his vibrato is also very well executed. He is not quite as clean as Malmsteen but he's not far behind. Shima also seems to be developing his own voice since Concerto Moon's debut album which was very 'Malmsteen'.
Shima also knows the importance of when to play slow. Several Concerto Moon instrumentals are based around slow, classically influenced melodic and harmonic minor scales, these show that Shima has developed more of the classical sound beyond those players that just ape Malmsteen etc. The title track from 'Rain Forest' is particularly noteworthy.

Overall if you are a fan of Blackmore/Malmsteen/Uli Roth etc then you should enjoy Shima's work immensely and you may even come away thinking he is a stronger songwriter.

Guitars
Scheter Signature Strats
Fender Stratocasters
ESP Stratocasters

Amps
Marshall 1959SLP
Marshall 1987
Marshall DSL100
Engl Savage
Marshall 4x12" cabs

From The Archive 21/5/06 - George Bellas Interview

2006-05-21T22:21:00.000Z

George Bellas is one of the leading players in the modern day neo-classical scene Having released 3 solos albums to date that showcase his rapid fire picking and flawless sweep picking technique over intricate and complex arrangements, Bellas has also worked with such illuminaries as Vitalij Kuprij, Ring Of Fire, Mogg/Way and many more. In this interview we find out what makes George tick musically and get his opinions on neo-classical metal and much more.

Interview conducted November 13th 2005

George, many thanks for agreeing to this interview. If we can go back to the start, what initially made you pick up the guitar?
An unexplainable inner drive. I was seven when I started and had a tremendous passion for it right away.

How long was it before you started to realise you have a talent on the instrument?
I knew from day one.

Who were you early influences?
As far as rock goes... Ronnie Montrose, Michael Shenker, Robin Trower, Ted Nugent, Van Halen, Randy Rhoads, etc...

How did these influences shape your playing style?
They boiled my blood, singed my fingertips and made me want to crank it up! They energized me for a lifetime!

You utilise a lot of intricate time signatures and rhythms in your music, where does this side of your playing persona stem from?
I'm not sure. I have always written with odd meters, ever since I was really young actually.

Do you consciously think, "I am gonna write something in x time signature", or does the music always dictate the rhythm?
Yes to both. Sometimes I begin with an odd meter rhythmic motif, and other times I'll just improvise something on the keyboard or guitar and it turns out to be in some odd meter. 4/4 is weird man...

The neo-classical slant in your playing is well documented, what composers or pieces of music from the
classical masters would you recommend to the fan that maybe is only really into neo-classical metal genre?
Bach, Beethoven, Chopin, Paganini, Liszt, Mahler, Stravinsky, John Williams, Bill Brown, Danny Elfman...

On the rock side of things whose works do you particularly enjoy or got inspiration from?
I've been really diggin' Virgil Donati's "Serious Young Insects" album. Killer rhythms and great playing on that thing!

You use predominantly Fender Strats, are the pickups in these guitars changed from the stock units?
I love the sound of the stock pickups, but I also use Dimarzio's and Seymour Duncan's.

Your website shows a few different Marshall amps (non master volume/JCM800/JCM900),do you use these for different applications and do you have a particular favourite model?
I love the JCM900 4100 series amps and also the vintage MKII's from the early 1970's.

Do you an external overdrive with any of these?
I use an Ibanez Tube Screamer. The old green ones. I love those things! Who'd ever thought something so green could be so sweet.

How do you like to mic your guitars?
With an SM57 right up to the grill and a little of centre. I run that through a Focusrite Red Mic Pre and finally into an Apogee AD converter = Bellas Butter Tone!

Any tips for getting a good guitar tone on mix down?
Not on mix down, but while recording yes - play your absolute best, use a great mic pre and get the best AD converter you can afford. Trying to fix a badly recorded tone during mix down is not the way to do it. Get it recorded properly in the first place.

Which of the albums you have recorded are you most pleased with (a) your guitar tone, (b) overall sound.
To be honest... The two albums I am currently producing that are not released yet are my favourite. The tone, writing and overall sound / production is the cream of the crop.

How does your writing process normally start?
There is no normal involved. I'll sometimes begin with a melody, sometimes with a harmonic progression, sometimes with a time signature or rhythmic motive, sometimes just by jamming and improvising. Most always though, it starts with a blank piece of sheet music. I am endlessly and always inspired to create, my passion is insane.

Your 3 solo albums all have their own individual character yet with the unique Bellas sound throughout. What were you aiming for on each album, do you feel you accomplished your goal and what are your thoughts on them now looking back.

Turn Of The Millennium
This album is very progressive, utilizing lots of unexplored meters, rhythms and modes. There is only one neoclassical song on the whole album, everything else is totally futuristic. This entire album was written on music paper (while sitting outside) way before I even picked up a guitar. Dean Castronova did a great job tracking drums as did all the other performers. There was definitely a lot of pressure felt from all the musicians to record this album within the short time frame they had. I sent all the musicians the full score's prior to me getting together with them to record, but most of them had never played or seen rhythm's in 23/16 time, for example. For the drum tracks...Dean and I would get together at his house in the morning, review the drum parts (from the scores) to be recorded that day and then go to the studio and cut the tracks. Bravo Dean! He is one awesome drummer!

Mind Over Matter
This album is totally in the neoclassical style. I composed this album (again on music paper) while recording an album with the UFO guys. While out at "Prairie Sun Recording Studio" I would rehearse with Phil, Pete, Ansley, Barry and Matt and then compose feverishly with every other moment I had in between those band rehearsals. This album has a lot of cool old school harmonic, rhythmic and contrapuntal qualities about it. Immediately after doing this record I did the John West "Mind Journey" album. I was flying back and forth from California to Chicago quite often back in the early days. My girlfriend knew that whenever Mike Varney called, I would usually be on a plane days later.

Venomous Fingers
This album is a combination of Neoclassical and Progressive styles. I wanted to do everything on this album and retain complete control of the entire production. I am very happy with the guitar tone, playing, writing and overall production on this. I am a composer in the most literal sense and want control of every note. I have a passion for writing for all instruments, not just the guitar. Paper and pencil is all I really need and is my preferred compositional workflow. At one point in my teenage years I told my Bass player that I was thinking of devoting 100% of my time to composition (just paper and pencil). But the guitar is too cool! So, my whole life has been trying to balance both performance (improvising + practicing) with Composition.

You played guitar on Ring Of Fire - The Oracle, you had an excellent chemistry with Vitalij Kuprij across all the projects you have worked together on, but how come you only played on the one album?
VK and I have always had a great vibe when we record together. I am very happy with how everything worked out on all the various projects we have done together.

Can we expect another neo-classical release featuring you and Vitalij in the future?
I'm not Nostradamus, but I'm sure it's possible!

You sell a lot of instructional material on your website, what do you feel you offer other musicians in these?
Help with obtaining better skill on their instruments as well as being a source of inspiration.

What are your plans for 2006?
I write constantly and very fiendishly. My catalogue of music is enormous. Out of all that, I am currently preparing 2 albums for release in 2006. These 2 works will contain some of my most eccentric writing to date, featuring lots of unexplored elements not found on any other records to date.

Anything else you would like to tell the readers of Baroque & Roll?
Life is but a vibrating string... and the universe a symphony. Do a google on "String Theory" and you'll know what I mean. Peace!

Interview by Andy Craven.

Archive 21/5/06 - Uli Jon Roth Profile

2006-05-21T22:12:00.000Z

Though he doesn't get nearly as much credit as Deep Purple's Ritchie Blackmore, Uli Jon Roth helped lay the groundwork for neo-classical metal with his lead guitar work for German hard rock icons the Scorpions during the '70s. Roth's playing owed an obvious debt to Jimi Hendrix, but the elegance of his lead lines, the fluidity of his phrasing, and his use of alternate scales learned from classical training all helped push his oeuvre into another realm entirely. Upon leaving the Scorpions in 1978, Roth embarked on an solo career that found him exploring his psychedelic and neo-classical influences to a degree that would have not been impossible with his former band.

Uli Jon Roth was born Ulrich Roth in Dusseldorf, Germany, on December 18, 1954. He began playing guitar at age 13 and was performing just two years later. In the early '70s, he joined a band called Dawn Road, which also featured vocalist Klaus Meine. Members of the temporarily in-limbo Scorpions (their guitarist Michael Schenker had just left to join UFO) became interested in Dawn Road's original material, which was largely composed by Roth, and a new Scorpions lineup was formed in 1973 with Roth on lead guitar. 1974's Fly to the Rainbow was their first recording together, but they really hit their stride on the follow-ups, 1975's In Trance and 1976's Virgin Killer, which made them international stars and drew particular acclaim for Roth's soloing abilities. However, musical tensions were evident on 1977's Taken By Force; Roth's epic ambitions began to clash with the straight-up hard rock sensibility of the rest of the band - the album did produce the classic 'Sails Of Charon' along with some exceptionally sweet soloing on 'Your Light'. After a tumultuous world tour, Roth left the group in 1978, following the release of the live double album Tokyo Tapes.

Out on his own, Roth formed a backing band called Electric Sun, which -- in keeping with the classic power-trio format -- featured him on lead vocals as well as guitar. Electric Sun made its debut with the Earthquake album in 1979, which was musically somewhat similar to his work with the Scorpions, albeit with more Hendrix influence, generally longer songs, and a slightly hippie-ish vibe. Those tendencies were explored in more detail on the 1981 follow-up, Fire Wind. For the next Electric Sun project, Roth took a left turn into symphonic neo-classical rock, greatly expanding his compositional palette while introducing his new invention, the six-octave Sky Guitar. The result, Beyond the Astral Skies, was released in 1984 and would prove to be the last Roth recording for quite some time; he elected to take a break from recording in order to work in an ambitious new direction. All three Electric Sun albums though Hendrixian in nature contain countless stunning solos over rich melodic backings.

Much of Roth's writing from the mid-'80s to the mid-'90s was in a classical style, leaving rock & roll behind altogether. For example, the 1991 piece Aquila Suite (later issued as part of the three-disc From Here to Eternity package) was a set of 12 etudes composed for solo piano, in the style of the Romantic era. Also in 1991, Roth was tapped by German television to direct the tribute special "A Different Side of Jimi Hendrix," which also featured bassist Jack Bruce and drummer Simon Phillips, among many others. In 1993, Roth returned to German television with the "Symphonic Rock for Europe" special, in which he performed his first rock symphony "Europa Ex Favilla" (plus several other pieces) backed by the Brussels Symphony Orchestra. Some of those compositions later turned up on Sky of Avalon: Prologue to the Symphonic Legends, Roth's 1996 return to recording, which featured his new backing band Sky of Avalon. Prologue was the first of a projected four related symphonic recordings spotlighting the sky guitar.

In 1998, Roth played his first straight-ahead rock concerts in quite some time, joining the European leg of the G3 guitar-virtuoso package tour with Michael Schenker and Joe Satriani. In 2000, Roth released Transcendental Sky Guitar, a two-CD set of recent live and studio material (including selections from a special 1999 concert in Vienna) that was split into classical and rock-oriented halves - again more essential listening for neo-classical fans. Feb 2004 saw the release of Uli's interpretations of Vivaldi's The Four Seasons entitled Metamorphosis, with his own material added to the end - again an essential purchase.

Uli's tone is amongst the elite in any genre of music, not overly distorted with excellent dynamics allowing each subtle nuance to transcend through the music. Uli's unique Skty guitar has 7 strings and 36 frets allowing him to mimic the range of a violin.. Uli's career is varied but there are gems amongst every release. For this reason our recommendations below are starting points for those new to Uli's work.

Lion Music released a tribute album dedicated to Uli entitled 'Beyond Inspiration - A Tribute To Uli Jon Roth', this is worth buying for James Byrd's rendition of 'Still So Many Lives Away' alone.

Guitars:
Sky Guitar (scalloped necks)
Fender Stratocaster

Amplification / Effects
Marshall 100 plexi tremolo head.
Marshall 100 watt non master heads.
Vox AC30
Fender Twin.
Roland Space Echo

Recommended Releases
Uli Jon Roth
Transcendetal Sky Guitar
Metamorphosis
Beyond The Astral Skies
Earthquake
Firewind

Scorpions
Tokyo Tapes
Taken By Force
Virgin Killer
In Trance

Official Website
http://www.ulijonroth.com

Neo Classical News Round Up

2006-05-20T08:53:00.000Z

CHRIS IMPELLITTERI COMPLETING NEW ALBUM

Chris has checked in with the following at his official website

Hello Friends,

I am still in the studio finishing the writing process for my next record. The CD working title is called "Good and Evil". It will be a return to the sound of Impellitteri with influences from my Screaming Symphony, Crunch, and System X recordings. The music will feature lots of shredding guitar solos and screaming vocals with the usual fat production.
At this time I have ten tracks written. They are fast and furious tracks mixed with good song writing. Also, there is an instrumental song very reminiscent of Bach or Mozart on steroids.
Both the metal community and the musicians should enjoy this disc.

I have been using my original 1970 Fender Stratocaster, 1958 Gibson Les Paul, and Marshall modified amps in the demo process and my guitar tone and playing are definitely maturing very nicely. I am definitely trying to take my guitar playing into the next realm--(Shred, taste, orchestration, and writing etc...)
It is to early to say how the music will turn out, but I hope and pray that this recording makes our longtime fans pleased. I am definitely doing this disc for you !!!!!

Until then, please check out the audio samples for you listening pleasure, especially if you don't know who we are --
IMPELLITTERI -- the name that know one can pronounce including myself !!!!

Cheers,
Chris Impellitteri

NORIFUMI SHIMA - DEBUT INSTRUCTIONAL DVD

Plays & Lecture Series Vol.1 “Basic Picking”

This new DVD available in Japan only features Concerto Moon / Double Dealer guitarist Norifumi Shima delivering a lesson aimed at beginners to advanced students on picking. There is slow playback of eack example as well as a section on Shima's gear.

The DVD can be ordered from bazooka music

News: Yngwie Malmsteen to guest on 4 tracks on new Derek Sherinian album 'Blood Of The Snake'.

2006-05-18T21:57:00.000Z

Derek Sherinian - Blood Of The Snake
Yngwie guests on 4 tracks.
[www.dereksherinian.com]

I contacted Derek for a few words on working with Yngwie on his new album 'Blood Of The Snake'.

Comments taken from my sites www.yngwie.net / www.yngwiemalmsteen.net

Derek comments, "I flew down to Miami to record Yngwie at Studio 308 April 27, 2006. We spent all day on these songs. He was so cool to work with once again. He was very professional, and wanted to make sure that I was happy with the tracks- that would be an understatment. The song "Viking Massacre" was written in honor of Yngwie. "

Yngwie appears on the following tracks (numbers represent songs in the albums running order)

1) THE MONSOON (sherinian/tichy)
ZAKK WYLDE- guitar YNGWIE MALMSTEEN -guitar JOHN "JD" DESERVIO-bass BRIAN TICHY-drums DIMITRIS MAHLIS- oud

2) BLOOD OF THE SNAKE (sherinian/tichy)
YNGWIE MALMSTEEN -guitar ZAKK WYLDE -guitar TONY FRANKLIN-fretless bass BRIAN TICHY-drums

8) PRELUDE TO BATTLE (sherinian/tichy)
YNGWIE MALMSTEEN -guitar DJVAN GASPARYAN -duduk,vocals TONY FRANKLIN-fretless bass DIMITRIS MAHLIS- oud MIKE SHAPIRO- percussion BRIAN TICHY-acoustic guitar JERRY GOODMAN- violin

9) VIKING MASSACRE (sherinian/tichy)
YNGWIE MALMSTEEN-guitar BRIAN TICHY- bass, drums

Update 3 18/5/06 Chris Impellitteri Interview & Profile

2006-05-18T08:52:00.000Z

Over the next few days I aim to get the vast bulk of content at the old site available here, feel free to post your comments to any interviews/player profiles that go online.

Todays update is a double whammy of Chris Impellitteri goodies, first off an interview conducted on New Years Eve on 2005 and also my profile of Chris. Enjoy!

Please note you can access older interview by using the options on the right hand side.

Chris Impellitteri Interview

Chris Impellitteri has been shredding away on the metal scene since the mid 1980's. Over the last decade he has had a prolific output of recorded work and gained a reputation in the genre as one of the finest technicians out there. We here at Baroque & Roll also believe that Chris is a great songwriter and rhythm guitarist so we thought it would be great to track down Chris and fire a number of questions at him about his playing style, his albums and much more! Be sure to also check out our profile of Chris (below) and buy some of his music!

Interview conducted December 31st 2005

What inspired you to begin playing guitar? Who were your initial influences and have they changed over time?

I started playing guitar after my mom and dad died when I was 9 years old. My grandmother thought I needed an escape from my tragic past so she bought me an electric guitar to replace my parents. I was definitely influenced by Van Halen and Randy Rhoads as well as jazz guitarists like Al Dimeola and later Yngwie.

My influences always change over time. Truthfully I listen to everything and everyone (musically speaking). However, my dominant guitar influences are early Van Halen, Rhoads, Dimeola, Yngwie, and then all other guitar players in the world.

How would you describe your style and tone?

I can tell you that I enjoy classical music in regard to composition and phrasing; therefore I tend to use a lot of your typical minor, harmonic minor, and diminished scales blended into heavy rock music. I obviously tend to play very FAST !!! ( sometimes great and sometimes senseless masturbation); both instances definitely describe my technique. I really enjoy playing for the song, which means either playing with perfection or playing in a crude manner. I guess I let the music direct me. I am definitely a guitarist with a very highly debated style. Some people think I am a great amazing guitarist and others think I suck. I guess it depends on my mood and drugs. If I am focused, I will play great like my first Impellitteri EP or my recent recordings which are controlled and well practiced; on the other hand if I am chemically influenced you end up with the earlier stand in line or that stupid reh video product (yuk). Ultimately, my style is definitely characterized as speed demon with classical influence and love for aggressive, melodic music. I definitely love to shred !

As for tone, I can honestly say that my tone has not changed much, but the engineering on the recent recordings have finally captured my tone instead of destroying it. I like to make my guitar sound like a chain saw but yet clean enough to hear each note when I shred.

You have a unique style, how many hours a day practice do you devote to the instrument?

I practice usually about 6 hours per day depending on my schedule. If I am making a record than I will play up to 14 hours per day, which is insane but it really has made me a better player.

You used a Fender Stratocaster for the bulk of your career, what is it about that guitar that you like?

I love the Fender Stratocaster. I first bought a Stratocaster after seeing Van Halen with a Charvel. Since I could not find a charvel I bought a Fender Stratocaster because it looked like Van Halen's guitar. Then I really found this connection with the instrument. It has the perfect body shape and the double cut away allows comfortable access beyond the fifteenth fret. The neck shape is also perfect for my hand, I can really play extremely fast on Stratocasters. I also love the sound of Stratocasters. If your record them correctly they sound amazing. I can burn up the fretboard with great clarity thanks to the single coil pickups.

How many guitars do you own and do you have favourite instruments that you always find yourself going back to for studio and live work?

I actually own only about 5 specific guitars. I have my main Stratocaster which is a 1971 Stratocaster that I bought in 1996. I have used it live and in the studio ever since I bought it. It really has allowed me to play great live. I guess you could say it gave me a tremendous confidence. Next I have a 1958 Gibson Les Paul that is amazing. I use it in the studio and actually took it out on the latest tour in Japan. It screams and the fingerboard allows me to play really fast without having to fight the instrument. My third guitar that I use is my Fender Stratocaster that was built in the Fender Custom shop. I do most of our recording with that Stratocaster. It is definitely modified, with jumbo frets and a combination of Duncan and fender pickups. The rest is my secret! My fourth guitar is the Chris Impellitteri signature Stratocaster that was released in Japan. It is the prototype model which is designed to replicate my 1971 Stratocaster. It is an excellent playing guitar.

You are pictured with scalloped guitars c. Stand In Line, yet more recently you have used non scalloped guitars, why go back?

I went through a stupid phase of using scalloped guitars thinking it was cool because of the other people using them. But in the end I realized I could only play great by using traditional vintage style fret boards. Basically, I need a neck that has low action and a smooth fingerboard fitted with jumbo frets. With that combination I can play technically very well and extremely fast. In fact, on my first recording which was the Impellitteri EP, I used a standard early 1970s stock Stratocaster. Additionally, since the recording Screaming Symphony I have returned to using stock Stratocasters and I have gotten my technique back.

The tones you have got on Impellitteri albums since 'Grin and Bear It' have all been GREAT, a really raw Marshall crunch, what's your basic amp set-up and do you boost the input with any overdrive pedals?

Thanks ! My amps are all modified. Live I usually use my 1973 Marshall 100 watt head with 25 watt celestion speaker cabinets. The 1973 marshall was modified by Bob Bradshaw. Basically it has extra preamp stages that increase the gain structure of the original amp. The head is amazing; in fact I got it around 1996 when we did Screaming Symphony.

I also have a 1969 Marshall 100 watt head that is completely stock and it screams. (Total Van Halen tone from the eruption solo!)

My third amp that I use often in the studio is a VHT ultra lead amplifier. It sounds very fat in the studio and blends well with other amps. Oddly, it also allows me to play really fast and capture all the notes with clarity like my 1973 Marshall head. Also, I must admit that I have been using a mesa boogie triple rectifier for the fat tones that go on the modern medal songs we record. So for the lead solos I use Vinatge Marshalls and VHT's, and for the rhythms I use VHT's and Boogies.

[Impellitteri c.Eye Of The Hurricane]

Has your basic guitar/amp set-up changed much since the Impellitteri ep?

No. I still mainly use Vintage Fender Stratocasters with Marshall's in combination with other amps. As I said earlier the engineering has finally captured the sound of my guitar only recently. I have always used Old Marshall's but the earlier versions were completely stock so you really had to work hard to make the amp sound right. I can also say that since I bought a major recording studio I have learned how to get that great guitar hero sound I wanted. In fact, since Screaming Symphony I have gotten a lot of compliments on my tone and technique.

How do you like to record your guitars and what sort of mic'ing techniques do you use? Any tips for getting a good sound when recording?

I use my Neve 1081 mic preamps and eq's for the recording of my guitar. The signal then goes directly to my Studer 827 tape machine. I play without using effects which allows me to make certain the tone that goes to tape will be the tone that is mixed in the final stage of the recordings. I also tend to eq in the mix with API equalizers. The API eq definitely shapes the guitar tone so that the guitar has great clarity in the mix. As for miking the amps, I use Sure SM57 microphones pointed directly in the centre of the cone of the speaker. That in a nut shell is the secret of my recording technique. The rest is in my hands.

Have you used any of the modern "modelling" amps, and whats your view on these gadgets?

No, I don't use the modelling amps yet. The ones I have tried do not move air. In the studio I like to feel that the speakers are actually pushing air and with my experience I have been able to do that only with real amplifiers. However, I have tried some of the amps like the pod and I will say it is really easy to play fast and do all of the technical wizardry, but the tone just seems fake in the studio. So therefore I am still using real crude technology for my amplification.

Which of your albums that you have recorded are you most pleased with (a) your guitar tone and (b) overall sound?

My favourite disc is definitely System X. The sound of the guitar is really amazing. The solo tones are top notch and it was definitely the record I should have made with Bonnet instead of the stand in line disc. Finally, for System X both myself and Graham were free of our demons and we were playing in great form. That disc will go down as one of the great cult classic discs if history is honest. The solos are shredding, well orchestrated, and the songs are a fine mix of vintage rock and modern metal. I also like the fact that the record is fairly raw sounding. In fact there are very few effects on the disc. I mixed the record with Mudrock who produced Godsmack and Avenge Seven Fold. I think I was his first virgin shred metal band, but he did a great job with System X.

My other favourite is my first Impellitteri EP that I recorded with Rock. The Impellitteri EP known as the black EP was definitely legendary in the shred circles. It was the first Impellitteri recording. The solos were ridiculously fast and the voice was insanely high. The songs were also great. The only problem was the actual recording of the music. Since we were poor we had no money to compete with all those bands who spent hundreds of thousands of dollars on their records. Instead we went in with about five hundred dollars and banged out the recording in the middle of the night with some friendly engineers in LA. So the music was definitely great because it was basically live with a couple of mikes and the band in a room!

[Graham Bonnett & Chris]

Something we mentioned in your Baroque & Roll profile was that Stand In Line had a very wet production, was this a conscious decision or a sign of the times?

No, I must admit I hate that recording. With the exception of the song Stand in Line the recording in no way represents Impellitteri. We were all so messed up with chemicals and secret addictions that the recording was doomed from the moment we went into the studio.

I can say that I cried to the engineer to change the sound of the guitar because I believed he was ruining the original tone that was recorded. But in the end he would not listen to me because the label paid him to mix the disc without my consent. To me I think the guitar was buried in to much reverb. But it was a good lesson for me to learn how to record and mix my guitar from that moment on. In fact the reason I made the great records like Screaming Symphony, Crunch, System X and so on was because of my anger towards the stand in line recording.

Your latest record 'Pedal To The Metal' pays tribute to the metal genre as a whole. What led to you doing an album like this and what was the reaction to it like?

Pedal to the Metal is absolutely a fun recording filled with lots of parody and tribute. In fact many people who hear the disc love it because we take you on an adventure by mimicking every band and style known to man. I wanted to have the record mimic bands that historically have been copied by other bands. So as you listen to the record you'll hear the Ozzy and Yngwie era that many people cloned in the eighties and then you hear the In Flames rip for the influence of the 90s, followed then by the modern metal scene with a Disturbed style tune. We also do a funny metal rap version which pokes fun at the whole M&M rap scene. In effect, the record sounds like Impellitteri is a cover band. It was really fun to do. Of course a lot of the tunes are also typical Impellitteri songs that just get you off your feet and make you want to grab your guitar and play.

Curtis Skelton was a great singer, will you work with him again?

Curtis Skelton is a great singer and I do not know if I will work with him again. I am currently writing and recording with my new band in LA and I am waiting to see the outcome.

One that thing that annoys me is that when people mention you they just focus in on the 'shredding' aspect of your work, missing the great song writing and riffs, what do you feel you can do to change this perception?

I think that people are finally beginning to hear what you are talking about. It is true that I brought on the shred label to myself. I am totally guilty of self indulgent soloing. After I did the Impellitteri EP alot of people told me how great I was and how amazing my speed was, but I got lost with that label and then with chemicals and depression I really lost focus. I call that my senseless guitar masturbation period.

However, since making the records I previously mentioned like Screaming Symphony, Crunch, and System X alot of people now hear a very well balanced version of Impellitteri, which I hope is filled with great songs, riffs, and inspiring solos with just the right mix of each to please all. Additionally, thanks to Japan and imports Impellitteri has now sold about 1 million records. So we are definitely making an impression in the music scene I think.

Do you care about this perception from certain people?

Yes!

Impellitteri are huge in Japan yet never reached those levels of success in the US and Europe, does this annoy you and what can be done to change it?

Yes! I do want Impellitteri to be huge every where but all I can do is keep evolving musically. I have know control over what country or land we are popular in. I just love making music, so I just keep making music for the love of creating music. If anyone wants to enter the Impellitteri world their always welcome.

What do you feel in the internet has done for your career over the past few years?

I dont know? Impellitteri have a good friend named Brian who runs our fan club. The web page is www.rapture.net/impellitteri . Brian usually lets our fans know what we are doing and asks us to update him on our current activity. In all honesty I really don't have anything to do with the site other than what he asks of me and my band. So if you love us or hate us you can write in and contribute your thoughts. As for the rest of the internet I think it is good and bad. I like it when the great Impellitteri music and performance is exposed, but I hate it when the crap we dont want released is heard. I guess that's part of the fun of the internet.
Ultimately, I think the internet has really led a lot of people to connect with Impellitteri. We definitely have been gaining a lot of new fans thanks to the internet!

Getting back to your guitar style, when did you start realising you had your own identifiable style?

Just now when you said I have an identifiable style !! Honestly, I think when I released my first Impellitteri EP the reaction from that disc made people recognize that my style was a mix of shred and metal. In fact, I was probably one of the first artists to mix metal like Iron maiden and Priest with technicall guitar playing. That was what the Impellitteri EP was all about. Also when I won best guitarist in the Burrn readers poll in Japan for Screaming Symphony I began to feel I was accepted as a decent player with his own technique.

Your rhythm work is amongst the best in the metal genre, what other players do you admire for their rhythm work?

Wow, I think someone paid you to say that ! thanks again ! Dime from Pantera was a great rhythm player, I love all the Norwegian metal bands for their heavy and melodic rhythm playing, definitely top notch.

Any tips for aspiring guitarists to build up their lead chops?

Practice ! It is what has led me back to being a real player. Just dedicate yourself to the instrument and the rest will follow.

You did the aforementioned REH instructional video back in the late 80's and some cover DVD's for Young Guitar magazine. Will we ever see any new instructional material (e.g. new DVD) from you?

I really hope so. I know people have begged me to show my true identity as a player. Unfortunately the reh video I did in the eightys sucked because I was so high. Sorry about that! I really owe the guitar community a video that truly shows the technical side of my guitar playing; so maybe with a bit of good luck I will do one in the future. Until then you can hear my playing on the discs.

What are your plans for 2006?

Record and make new music and hopefully tour !!

Anything else you would like to tell the readers of Baroque & Roll?

Thanks for your time and keep shredding the strings. The guitar is an amazing instrument and a great tool for self _expression. I hope to see all of you live with Impellitteri in the future !!

Thanks for your time Andy I truly appreciate it !!

Chris Impellitteri Player Profile

Super speed shredder Chris Impellitteri has had many tags associated with him: Yngwie rip-off, soul-less, lives only for speed soloing etc, but there is much more to this artist than cheap accusations. Impellitteri has possibly the best right hand picking technique in metal today. He also knows how to pen a catchy, melodic hook filled tracks which are a combination of power and melody - many of his albums are essentials to readers of Baroque & Roll.

Chris first came to prominence in the mid 1980's thanks to his 4 track Impellitteri e.p. This led to a major label deal which saw the release of 1988's Stand In Line featuring Graham Bonnet (Rainbow/Alcatrazz) on vocals and Pat Torpey (Mr Big) on drums. This album combined Chris's super speed soloing with tight punchy metal riffs and commercial hooks. The album contains what have become Impellitteri classics with tracks such as Stand In Line, Secret Lover, Tonight I Fly, and an instrumental working of Somewhere Over The Rainbow. The album created quite a buzz on the metal scene at the time and musically, it still stands up well today though it does come across a little dated due to a wet production.

The band Impellitteri's next release was Grin & Bear It. This album saw a complete overhaul in personnel and featured a change in sound. The heavily neo-classical tracks were replaced by a more riff-based, song-oriented direction that was more in line with Van Halen and early Extreme. These heavy and catchy riffs were the backdrop for vocalists Rob Rock's powerful metal scream. The duo proved themselves to be a very strong song writing partnership and one that would blossom over subsequent releases.

Answer To The Master and Victim of the System followed in quick succession, and both are superb metal romps powered along by Impellitteri's metal finesse, Rock's classy vocals and drummer Ken Mary's (Fifth Angel/James Byrd's Atantis Rising) explosive drumming.

But it was Screaming Symphony which really saw the band hit its stride. This album is home to one of Chris's finest instrumentals in 17th Century Chicken Picking. Screaming Symphony led to a fanatical following in Japan and further underground praise around the world.

Eye Of The Hurricane is perhaps the bands highlight with Rob Rock in the band. Containing 11 tracks of pure metal delight, this album is a fast, break-neck ride that only lets up briefly for the acoustic track, On and On. But its the metallic majesty of tracks like Eye of the Hurricane, Shed Your Blood, Master Of Disguise and the neo-classical instrumental work out Race Into the Light that catch the attention.

With the release, Crunch, the band got even heavier but its still a pleasing metal album with rip-roaring tracks like Beware of the Devil and Speed Demon, the energy displayed is impressive with neo-classically tinted solos.

2002 saw the band reform with Graham Bonnet for the re-energised System X. This is one delightfully metallic affair and not a thousand miles away from the sound displayed on Stand In Line (sonically its infinitely better). It also features Bonnets best vocal performance since Alcatrazz's No Parole For Rock & Roll. The album is available worldwide.

2005 saw Impellitteri work with another new vocalist - Curtis Skelton - to produce the blistering Pedal To The Metal. This album saw a nice mix of the styles on offer from the bands back catalogue as well as some modern metal outings which work well with Chris's speed soloing.

Chris's guitar sound is based on the classic Stratocaster and vintage Marshall setup. However, the rhythm tones often suggest a more hi-gain amplifier for the biting metal tone and tighter bass. Chris's website reveals the use of Soldano SLO-100's, Boogie Rectifiers and a Peavey 5150 as well.

Chris's lead tone is however very pure with a lot of definition and clarity and this would be the likely area where the vintage Marshall's are used.Chris's REH instructional video Speed Soloing saw Chris using a Fender Stratocaster as he blazes his way though trademark licks and motifs.! Chris' then started to use Schecters for a brief time. These days he is back to Fenders and uses custom shop instruments. He normally prefers rosewood boards, large headstocks and single coils (see top picture).

Chris lead work is firmly rooted in the neo-classical mold e.g. lots of 2, 3, 4, 5 and 6 string arpeggios, sweep picking passages, diminished, harmonic minor and Phrygian runs. Chris's speed was best shown on the Stand In Line album. Since then his solos have matured nicely and he has learnt the art of when to use his terrifying speed to provide more impact.

Chris's technique is super clean, with flawless timing between left and right hands. His vibrato has improved over the years and continues to get better with each release. To see Chris's work close up I highly recommend tracking down copies of Young Guitar magazine where Chris is featured on the cover DVD.Chris' rhythm work is often based around fast speedy power chord voicings on top of rampaging open notes, yet the choruses often see nice chord inversions to make the melodic choruses more memorable.If you are looking for a band and player that combine heavy riffs, melodic vocals and impressive classically tinted soloing Impellitteri is just the ticket.

Guitars
Fender Stratocaster
Schecter Stratocaster

Amps
Marshall 1959 plexi
VHT UltraLead
Soldano SLO100
Mesa Boogie Rectifier
Peavey 5150
Kasha Rock Mod

Effects
Ibanez Tubescreamer.

Neo-Classical Charts (month of April 06)

2006-05-17T22:12:00.000Z

Neo Classical Album Charts - April 2006
Charts supplied courtesy of www.guitar9.com

1.
Hideaki Nakama
Point Of No Return
Hideaki Nakama, a neo-classical and metal guitarist who gained fame with the hard rock band Hurry Scuary released a mostly instrumental showcase album in 1989 called Point Of No Return. The CD features seven instrumental tracks, along with two vocal numbers sung by bassist Norio Sakai.

2.
Matthew Mills
Neo Classical Rock Guitar
Fire up the arpeggiation cannons, and launch the shred torpedos - guitarist Matthew Mills is back with a musical version of 'shock and awe' entitled NeoClassical Rock Guitar. Joe Stump, a big influence on Mills, guest solos on the album's closing track "Shattered Horizons".

3.
Michael Romeo
The Dark Chapter
Romeo is an incredibly accomplished player drawing on a neo-classical style reminiscent of Yngwie Malmsteen while retaining his own identifiable signature that sets him apart from other players in this genre. He has received major coverage in many of the guitar magazines around the world and is best known for his role as lead guitarist in Symphony X.

4.
Timo Tolkki
Classical Variations & Themes
Classical Variations And Themes is the re-release of Stratovarius guitarist Timo Tolkki's 1994, neo-classically flavored, melodic metal solo outing. An 11 track collection (9 instrumental, 2 vocal) of classical variations and themes, it includes Tolkki's interpretation of Tchaikovsky's "Death Of A Swan", as well as Rodrigo's "Concierto De Aranjuez" ("Guitar Concerto") and the traditional tune "Greensleeves". Tolkki provides the vocals on a pair of vocal tracks, and interestingly, decided to give up the vocal chair in Stratovarius shortly after - in order to concentrate on guitar.

5.
Hess
Opus 2
The music of Opus 2 is rich in musical depth, progressive key changes and rhythms, orchestration, great passions of emotion, and of course, extreme double virtuoso guitar work. You have heard progressive bands, instrumental shred guitar masters, neoclassical virtuosos, cool film music and very dramatically expressive music before, but the only place you are likely to hear all of this in one CD is Opus 2.
[Be sure to check our Baroque & Roll's interview with Tom Hess now].

6.
Nick Andrew
Solo?
UK guitarist Nick Andrews first Solo? album is a totally unique musical experience that has brought together his love of classical, jazz and rock music. With a very off-the-wall virtuoso panache and sense of humour everything, from the delights of a dynamic chamber orchestra, to full on rock drums to insane jazz piano, is played on guitar and guitar synth.
[Baroque & Roll comment - not strictly neo-classical metal this one].

7.
Vinnie Moore
Defying Gravity
Vinnie Moore's Defying Gravity is a stunning instrumental barrage of outstanding musicianship and is rooted deeply in the progressive neo-classical style that generated a legion of loyal fans.
[Baroque & Roll comment - for purer neo-classical from Vinnie checkout Mind's Eye]

8.
Yngwie J Malmsteen
The Genesis
A collection of 6 demos recorded in 1980 and essential listening to anyone interested in Yngwie's roots. The sound is of demo quality but a great release. Also includes some spoken word from Yngwie and a recently recorded cover of Hendrix's Voodoo Chile.

9.
Borislav Mitic
Fantasy
Fantasy is guitarist Borislav Mitic's 1996 Yugoslavian release which eventually led to his signing with Shrapnel Records. Featuring original compositions and works by Paganini, Handel and Bach, the CD is a neo-classical shredfest in every sense of the word.
[Baroque & Roll comment: A good release but try and hunt down the self-titled release on Shrapnel Records, sadly long out of print]

10.
Bob Katsionis
Imaginery Force
An instrumental virtuoso progressive/neoclassical/metal album with amazing keyboards and guitars, entitled Imaginary Force. Katsionis is the number one keyboard player on the Greek metal scene and is constantly touring and recording with various acts, such as Firewind. Fellow Greek neo-classical shredder Theodore Ziras also contributed one magnificent guitar solo each.
[Baroque & Roll comments - More prog metal but their are neo-classical touches scattered throughout].

Neo-Classical News

2006-05-17T10:20:00.000Z

Neo-Classical News

James Byrd
James Byrd has just launched his new MySpace site at http://www.myspace.com/guitaristjamesbyrd, here you can check out 3 tracks including a cover of the Frank Marino classic "The World Anthem" which is a stunning performance from Byrd [www.jamesbyrd.com]

Byrd is busy working with his guitar company Byrd Guitars at present but is now working on new material and the direction he wishes to take his next project.

Be sure to check out Byrd Guitars at www.byrdguitars.com

Joe Stump
Joe is currently in the studio tracking guitars for the forthcoming Holy Hell cd (see our Tom Hess interview), Joe also has a new solo album in the pipes with all the material composed, recording should commence after the Holy Hell tracks are done.

Joe has also recorded another new instructional DVD, "Neo-Classical Guitar 3". This DVD focuses on Baroque style classical pedal point and linear playing. As with the previous DVD, it contains quite a bit of instructional content, performance footage, and yes, plenty of gratuitous shredding. It should be released by the Shred Academy in June sometime.
http://www.joestump.com

Update 2 17/5/2006 Dushan Petrossi Interview

2006-05-17T09:41:00.000Z

Welcome to the second update of the new look www.baroqueandroll.com. All the websites previous old content will be making it into these pages as archive material, I hope that the new way to interact with the site makes it more accessible for you, it certainly helps me.

In today's update we have an interview which has been sat in my archives for a few weeks now and this is another reason why I have changed to to this format of website. To prevent this from happening again the future.

On with the interview...

Dushan Petrossi Interview
Iron Mask / Magic Kingdom

Dushan Petrossi is the founder of 2 great neo-classically tinted bands - Iron Mask and Magic Kingdom. Hailing from Belgium, Dushan's profile has been building rapidly over the last few years with the last Iron Mask album 'Hordes Of The Brave' picking up superb releases all over the world. Fresh back from an extensive European tour with Anvil we got in touch with Dushan to discuss the last Iron Mask album, the supporting tour, his guitar playing and what's next for him down the line as well as how he sees the neo-classical genre.

Interview conducted March 27th 2006

If we can discuss the last Iron Mask release first. 'Hordes Of The Brave' saw superb press around the world, and it really saw the band hone a trademark sound. Are you pleased with how the album was received?

My pleasure Andy, well; yes of course we are very happy with the media reaction, its beyond any expectations, we got great reviews around the world and our fans really love this album, that’s most important to me.

Your did a European tour in support of Anvil, how did the tour go and what was the crowd reception like?

It was amazing, especially at the Monsters of Transylvania festival in Romania. I didn't know so many people know us in the eastern countries. Anvil are very kind people, we had a lot of fun and in spite of some organisation shit we really enjoyed the tour. Meeting the fans was great, they came from Turkey, Bulgaria etc to see us live. We really hope to tour as soon as possible again. The album is killer for live gigs and people sing along with us, we had a blast. This year we'll be co headlining this Monster of Transylvania in Romania again.

What sort of set list did you generally play?

When time permitted we played all the ‘Hordes of the Brave ‘album plus 2 instrumental tunes - ’Black Magic Castle’ and a new one which will probably be on the next MK album (or the next IM) called’ Ghost of the Tzar’. For the next festival in France (30th of April) as headliner we'll also play a brand new instrumental song, a fast one called ‘Nemo ’s Nautilus‘.

The use of the two vocalists in Goetz 'Valhalla jr 'Mohre and Oliver Hartmann really added a nice dimension to the music. Was it just Goetz on the tour?

Yes only Valhalla jr. Olli just released his solo album, but he told me he will come for some good festivals as well.
You had some great duelling neo-classical solo sections with Richard Andersson who played guest keyboards on the album. Will you two collaborate again in the future?Thanks a lot ,yes he’ s always welcome. He will do some keys solos again for my next MK and IM album that s for sure-) I like his playing a lot.

What did you set out to achieve on the album and do you think you accomplished it?

Trying to get my own little style, in spite of a lot people who are thinking I'm only doing Malmsteen stuff. I think we now sound different, the album got a powerful sound with great songs and very catchy vocals melodies. As a guitar player I think you can now hear some more different things, more tapping, legato, string skipping, but don't get me wrong I'll never put unnecessary technique into my playing. If a song only need some good slow melody (My eternal flame) I'll prefer that.

Ok if we can now get onto guitar playing. What inspired you to start playing and what inspires you still to this day?

The acoustic guitar of my older brother ,I was very young. Nowadays I just try to write good songs, as a guitar player I was influenced by Gary Moore ,Yngwie, Steve Lynch, Al DiMeola, Schenker etc.

Where do you think your playing is going?

I really don t know as I improvise a lot of my solos, but I try to be melodic and most important put some emotions and feelings in a solo, that’s the hardest thing to do. I just hate unnecessary shredding, Your guitar must sing like a human voice or a violin, playing only fast is ridiculous at least in my point of view as guitar player.

You are able to pull off some fantastic fast runs, do you have any advice for less experienced players that are perhaps having difficulty in building up speed and precision?

Playing, practice ,record yourself if you can as much as possible, don't rush things - its the worst way to learn if you skip some important stuff such as right hand picking coordination. A clean legato or tapping with one, 2 or 3 strings (two handed tap) need to be very clean …you need to hear each note.

What does you day-to-day guitar routine involve?

It depends, rehearsing for gigs or writing new songs.

When playing at home, what can Dushan Petrossi be heard playing?

A lot of improvised stuff, scales, new songs, some small exercises, rehearsing old stuff for gigs too etc.
How did you record the guitars on the last Iron Mask and Magic Kingdom albums? 100% Marshall, actually the JCM800 with the JMP-1 pre amp for the MK album and the JCM2000 for the IM album; On the Hordes of the brave album I also used a Dod pedal and my wah for some solos too.

Any tips for getting a good guitar tone during recording?

Get a good mic and a good Strat in a Marshall ahaha.

What do you like to hear in your tone?

I like lot of bass for the rhythm guitars and enough middle in my solos sound but I hate screaming sounds with too much treble; simple things sound the best, I don’t need a big rack full of effects or big eq-

Which of the albums you have recorded are you most pleased with (a) your guitar tone, (b) overall sound.

I like the last MK album guitar sound but I prefer the overall sound on ‘Hordes of the Brave’, my solo sound is also better on the IM album

What is it about the neo-classical genre that you like and where do you feel your music falls into the genre?

I always loved classical music, my favourite composer of all time is Handel, and when in the 80’s I discovered; guitar players putting this side of the classical music onto rock ,I knew it was the way I wanted to sound coz its the way I hear music . I don’t care about nu metal or rap, its the worst think on earth, its not even art for me and really I don’t care if people think I'm doing what Yngwie's doing, the real fans know the differences, but my music isn't based on only the neo classical approach; its more song oriented but with solos, classical themes , breaks, darker and heavier riffs.

I believe you are in the process of having a custom instrument made for you, can you give us anymore information on this guitar i.e. who's making it, shape, pickups, tremolo etc..

Yes Regis Sala, a great French luthier will do a signature guitar for me ,I met him in November at one of the Iron Mask show in Paris, he came backstage and gave me a guitar of his own. I tried it and liked the instrument: so we made a deal; he’s actually doing it right now, it will be a mix of my Fender and my ESP guitars with some ‘violin’ stuff as well -)) I didn’t want a Fender replica, but something close to Fender is ok for me ,the pick up will be from Benedetti, with a vintage tremolo, a mix of vintage and modern stuff. Later fans and guitar players will be able to purchase the DP model through my web site or the Regis Sala one. It'll be a fantastic looking and sounding guitar ,you'll see.

What do you look for in a guitar?

The way to express my feelings.

What are you plans for 2006?

Well; we'll start recording 2 albums at the same time this year. I have 25 new songs ready, the new Magic Kingdom album which is called 'Holy Pentalogy/Tournament in Hell' and will be released in early 07 trough LMP, this album will see a great mix of different kind of voices as in the Metallic Tragedy tune and second the new Iron Mask called ‘Shadow of the Red Baron‘, probably released late 06 still on Lion Music, I also did some guest soloing for the young power metal band Icewind from Canada, soon to be released.

After that I'll continue to work on my Sympho-score and instrumental guitar album 'Trinity / an electric guitar Symphony'. This one takes a lot of time and will be released much later; because I'm programming all the orchestra and the epic choirs alone in my home studio ,but it will sound great. Very epic.

Anything else you would like to tell the readers of Baroque & Roll?

Thanks to everyone supporting the neo classical or sympho or prog scene, check out our albums, and see you soon on tour!!!

Dushan, many thanks for your time.

Thanks a lot for the interview Andy Cheers!!!!

Weblinks
http://www.dushanpetrossi.com