As well as play guitar, what else do guitarists sometimes do? Sing. Something I’ve noticed in recent years is a tendency for some of our best shredders to croon along to their own compositions. Maybe because they like the sound of their own voice; or somebody else does; or merely because they can’t afford a singer. Whatever the reason, rock guitarists have accompanied themselves on vocals for many years now.Remember Gary Moore? Moore’s early vocal performances were truly abysmal (anyone ever thought that Victims Of The Future might actually be a good album if it was re-recorded with a decent singer?). Others, like Uli Jon Roth (Electric Sun) and, god save us, Yngwie himself (ever heard those Black Star demos?!) sing so badly they’re almost appealing!
The last two decades have seen many guitarists utilise their lungs as well as their fingers. Some, like Frank Gambale and Eric Johnson, have combined both talents since the beginning; others only recently. Ironically, many fine shredders have proved themselves better singers than those hired to do the job on a professional basis; players like John Sykes (Blue Murder); Paul Gilbert (check out the live Jimi Hendrix Tribute); Richie Kotzen; and Trevor Rabin (Yes) spring to mind. Others like Shawn Lane, Joe Satriani and Steve Vai have avoided embarrassing themselves vocally, with performances which complement rather than detract from their six-string ability.
Nearly every accomplished guitarist has, in fact, had a go at one time or another. But why bother? Sure, if you’re short of money (and we all know shred is not a highly paid profession) then singing on your own CD or demo makes perfect sense, especially if you’ve got a half-decent voice. But it can be detrimental too. I, for one, have grown tired of John Norum’s insistence on singing on every CD since Face The Truth, an album whose appeal is as much to do with Glenn Hughes’ vocal performance as Norum’s admittedly excellent guitar playing. The same goes for Steve Lukather, whose workmanlike vocals are fine over one or two Toto tracks, but simply aren’t strong enough to carry an entire album (witness 1992’s Kingdom Of Desire, which could have been ten times better with a superior vocalist).
I prefer to listen to guitarists PLAYING GUITAR; don’t you? The sound an instrument makes is, after all, its performer’s 'voice'. Why dilute the message? It’s the old argument: should pop stars become actors?; actors become pop stars? Or should they stick to what they know? Some guitarists - especially from the 70s and 80s - are memorable BECAUSE they combined vocals and guitar, often to great effect. Think Sammy Hagar, Dave Meniketti (Y & T), Paul Stanley (Kiss) or Ted Nugent. And, of course, there’s the most famous of them all: Jimi Hendrix. Big bands, big personalities; great music.
What do YOU think?
This month’s Unknown Talent focuses on a wild and wacky American by the name of Ron Thal. Ron is a New York musician whose highly original approach to composition is causing ever-widening ripples in the world of shred. Dispensing with the usual restrictive approach to writing, Ron has honed all the finest elements of jazz, classical and fusion into a fascinating blend of surreal recordings. Demo tracks like 'The Shuck Duffle', which features his 'coin guitar' (the fretboard literally covered in coins); or the terminally strange 'Sex With Ducks' have to be heard to be believed.
The debut CD, The Adventures Of Bumblefoot, was an all-instrumental affair. The second release (Hermit) featured fine vocals from Ron himself.. He’s also appeared on Ominous Guitarists From The Unknown (featuring a superb 8-finger-tapped modernisation of Chopin’s “Fantasie Prelude”) and has recorded tracks for the Guitar On The Edge series. He has just released a new vocal CD called Hands (available from the web site - see below).
You might (obliquely) compare him with Steve Vai, though his music is far too individual to suggest anything but the most tenuous link. Certainly his compositions are essential listening for those with a taste for eccentricity. His refusal to adhere to the standard methods of playing scales and executing tapping licks (not to mention his strange use of harmonics, sweep-picking and interval tapping/sliding) results in an abstruse hybrid of tone and phrasing unlike any player you will have ever heard. Feathered fowl (and aspiring guitarists) beware!
His web sites - as fascinating as his music - can be found at:
Email him on: Bumblefoot@aol.com
Matt's Playlist:
Philippe Ansari - Holotropic Guitar (Demo)
King’s X - Ear Candy
Symphony X - Twilight In Olympus
Joe Satriani - Crystal Planet
Michael Romeo - The Dark Chapter
Matt's Mind|Matt's Music|The Modern Guitarist
Contact me: Mail
