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Greatest Underrated Guitar Players

Ask anybody who the greatest guitar players in the history of rock music are, and youll likely get the standard answers. The big three, Clapton, Beck and Page; certainly Eddie Van Halen; maybe Stevie Ray Vaughn. The metal-heads will cite Randy Rhodes and George Lynch. These are all valid answers, but if you would put forth names like Elliot Easton and Andy Summers, you might be likely to get a blank stare in return. Too often great guitarists are overlooked simply because they lack the flash of a star like Eddie Van Halen or because they are part of a group that simply has an overabundance of talent and they tend to be moved to the background. Take Andy Summers, guitarist for the Police. Everybody knows who Sting is, and there is no doubt that he is tremendously talented, as is drummer Stewart Copeland. As part of that unit, however, Summers was often overlooked. What is so amazing about Andy Summers is not only his command of the instrument, but his overwhelming versatility. From ska to punk to reggae to straight ahead rock and roll, nothing is outside of his ability. His style has been described as minimalist, but that minimalism is a plus, and he is to be credited for not falling prey to his critics and trying to overplay to compensate for a lack of complex layers of sound. Below, in no particular order, Ive listed some of my favorite underappreciated players, and the reasons why I consider them to be great.

Elliot Easton (The Cars): Elliot Easton is probably the greatest reason for the success of The Cars. Without Eastons accessible rock guitar cutting through the synth driven Cars sound, they never would have found the mainstream acceptance that they did. Imagine the spacey pair of Ric Ocasik and Greg Hawkes playing over an equally new-wave influenced guitarist and you have a style of music that would not appeal to people on a large scale. Eastons Buddy Hollyesque sound, however, served to make The Cars commercially viable. My Best Friends Girl from their debut album is an excellent example of how Eastons contribution was essential in creating hit records for The Cars.

Warren DiMartini (Ratt): What impresses me most about DiMartini is that fact that despite being known as a speed demon who is content to throw a startling flurry of notes at the listener, is that he knows the value of a rest. Too many metal artists try to play as fast as possible, and DiMartini can keep up with the best of them, but Im more taken with the fact that on songs like Lay it Down, Wanted Man and Round and Round, its DiMartinis artful use of pauses and mutings to lend depth and character to what would otherwise be just another ripping metal tune.

Kathy Valentine (The Go-Gos/solo): The Go-Gos will never be known for stunning musicianship, but Kathy Valentines reputation suffered from being thrown together with a group of girls who were far less proficient in their playing. Not to say that the Go-Gos were not any good. Their style of music was based on catchy beats and fun lyrics, so being technically perfect was not a requirement. Unfortunately, the fact that this was an easily exploitable fault that the critics could grab a hold of, the band was unfairly criticized for being a bunch of girls who could barely play their instruments. If they had bothered to check, they would have found the Valentine was actually an experienced and talented guitarist, making the switch to bass to fill the spot with the Go-Gos. Actually, a casual listen will show that Valentines bass playing stands out more that Charlotte Caffeys or Jane Wiedlins guitar work. At times its almost melodic. Since the Go-Gos Valentine has gone solo, along with a side project called the Delpines. I would strongly urge you to check out Valentines appealing mix of rock and punk on her Light Years album.

Slash (Guns N Roses/Velvet Revolver): Guns N Roses now Velvet Revolver bassist Duff McKagan once claimed that Slash had the fastest right hand Ive ever seen. While it may be argued that the left (fretting) hand is more important for a guitarist, after hearing Slash play, there can be no discounting the value of a fast right hand. Sweet Child of Mine, Paradise City and Welcome to the Jungle received more radio play, but to hear one of the best examples of Slashs work, check out Mr. Brownstone on Appetite for Destruction.

Steve Steamin Clark (Def Leppard): It seems that all great artists have their demons and Steve Clark was no exception. Before alcohol claimed his life at too young an age, Steve Clark had built up a legacy of fine work that will live on. Steves gift was an ability to build spatial separation into his phrasing. It was almost as if he was playing in a huge empty amphitheater in which each note rang out perfectly and separately and yet, along with the complimentary work of bandmate Phil Colin, fit tightly together like pieces in a puzzle. The song Love Bites from the Hysteria album perfectly illustrates this point. Unlike previous member Pete Willis, Colin provided a perfect foil for Clark to play off of. Unfortunately, Def Leppard seemed to be associated more with the fact that drummer Rick Allen played with one arm, the result of a 1984 auto accident, taking some of the attention away from the fact that Clarks playing made Def Leppard one of the finest pop metal bands of the 80s.

Howard Leese (Heart): Fated to share the stage with two of the most beautiful and talented women of the rock era, Howard Leese continued to lend his creative talents to Heart long after its other founding members had departed. It was Nancy with her beautiful blond tresses that stole the spotlight, but it was Howards guitar that powered the group. Secure in the knowledge that he was a key component in Hearts driving guitar based sound, he was never bitter about the fact that his name was only recognizable amongst true fans of the group. Listen to Barracuda or Magic Man or Even it Up and you are instantly struck by the inherent coolness of the opening riffs, and his mastery of harmonic overtones is second to none.

Mick Mars (Motley Cre): Mostly thought of as a fair to middling heavy metal guitarist, Mick Mars phrasing is perfect for the Cres sound. Chunky, dirty and staccato at times, it still manages to be melodic. Upstaged by Vince Neil, Nikki Sixx and Tommy Lee and their bad-boy images, Mick stays cool and aloof behind his powerful music. Despite the darkness inherent in some of their tunes, you cannot fail to be uplifted by Mick Mars musical skills.

Really there are so many worthy players that I could go on and on, but this is just a listing of those few that have bugging me for years. Its true that people have their own tastes, and for some, these guys wouldnt even make the top 10, but it makes me feel better to have my sentiments known. If Im lucky there may be a few of you out there just a few who will say, Man, Ive been saying for years that he (or she) has never got enough credit.

Kenny Auyoung: Webmaster @ GetMeABand.com - Looking for a band? Search through thousands of musicians profiles to find the right band members in your local area. Find musicians, start a band, and play music - http://www.getmeaband.com

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Turkish Belly Dance - A Beautiful Mystery!

One of the more fascinating styles is the Turkish belly dance. The dance music is characterized by the sounds of the oboe, clarinet, kanoon, finger cymbals and hand drums. Turkish dance costumes are among the more risqu of the cabaret styles, baring plenty of leg and cleavage. Similar to Greek and Armenian it is usually faster than Egyptian dance music, and often there are less rhythmic changes. Turkish belly dancers spread their traditional dance around the wider world, and enchanted their audiences when they appeared on dance stages in countries from America to Argentina; from the Arabian Peninsula to England and from Japan to Italy.

Turkish belly dance has been at least 500 years of history. The most important influence on it came from the Roma (Gypsies) people of Turkey. Today this style of dancing often struggles against the morals of a Muslim country but is generally still accepted because of its deep history. As artists they dare to see how far they can take sensuality into sexuality. The costumes consist of a bra, a belt and a skirt. Among current designs, hip accentuation's are built directly onto the skirt in lieu of a belt.

Turkish belly dance is something that is quite closely related to that of the cabaret style and is recognizable in that reference. The dresses that are usually used in this form of dance are quite embellished and adorned with different sorts of glittering objects such as jewels and beads. Turkish Belly dance is a dance style with a long and significant history in Turkey. It has exerted a considerable influence on the development of modern American cabaret style belly dance. A good description is that it is very earthy, and tends to have more weighted and even suggestive moves.

As you become aware of the many facets of oriental dance, keep in mind that there is no specific style considered right, or correct. All of the various styles are beautiful, inspirational and can elevate our thinking and even ourselves to a higher level. As you learn to dance it is up to you to develop the style, the expression and moves that most reflect your inner being. The only way to know this is to expose yourself to as many styles as you can. If you make sure you study with the best teachers and use the best tools you will find that your expression of this wonderful dance will shine through and entice those who have come to watch you dance.

http://www.my-belly-dance-4u.com/pages/turkish.html

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Downloadable Music

Berklee Shares
Free music lessons to download in MP3, QuickTime and PDF formats.
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The Piano Education Page - Piano and Music Software Reviews
Piano teacher reviews of current piano and music software packages. ... Rating System | Downloadable Music Software | Reviewed Software | Learning ...
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Ten Unlikely Hit Songs That Broke the Rules

Few songs that break the rules of pop songwriting ever achieve mainstream success. Deviate from the predictable verse/chorus structure in 4/4 time arranged for a basic grouping of guitar/keyboards, bass and drums, and you can pretty much guarantee being marginalized. During a 20-year period from roughly 1965-1985, however - a period that witnessed a flowering of musical creativity and widespread openness to experimentation - it was possible to break the rules and have a hit record. Here are ten unlikely hits from that period.

Good Vibrations - Beach Boys - 1966, #1

Brian Wilson spent six months and an unheard of $50,000 perfecting this pop masterpiece. While it starts out with the usual verse/chorus alternation, it moves into a contrasting section that could be a bridge except that it moves on to something yet different. The music quiets down to a hush - highly unusual for the middle of an uptempo song - before the voices launch back into the chorus. Rather than fade out on the chorus at this point (the standard formula), a completely new section intercedes before the outer space theremin from the chorus returns minus the vocals to lead the fade-out.

White Rabbit - Jefferson Airplane - 1967, #8

This quintessential example of pyschedelia is built on an unusual AAB structure. In the first half, the melody follows a folk song pattern: rather than a chorus, the two verses each conclude with a melodic tag. The song then breaks free from this structured section and moves into something that feels more improvisatory. The melody rises higher as the music intensifies and climaxes with the final phrase repeated twice.

Suite Judy Blue Eyes - Crosby, Stills & Nash - 1969, #21

True to its name, this is a mini-suite of four contrasting sections: ABCD. There are no choruses, only a changing sequence of verses. After slowing in the B section, the rhythm picks up in the C section. The sequence of verses becomes condensed in section D, propelling the music to its climax.

Black Dog - Led Zeppelin - 1969, #15

A song in which the music keeps stopping and starting breaks the rule of continuity, but there is a play between symmetry and asymmetry in the structure of "Black Dog" that is both surprising and satisfying. The structure is: A (verse three times) / B (instrumental) / A (verse two times plus "ah ah" melody) / C (contrasting bridge). Then the entire structure is repeated.

Uncle Albert/Admiral Halsey - Paul McCartney & Wings - 1971, #1

Two disparate songs were combined to create this study in contrasts. The opening, slower "Uncle Albert" song is comprised of three verses, two sung and one spoken. The second song, "Admiral Halsey," by contrast, is uptempo and uses a verse/chorus structure. But McCartney further plays with our expectations by putting the chorus first, and instead of a second verse he goes into a third contrasting section in an even faster tempo ("little little be a gypsy"), before returning to the chorus.

Living in the Past - Jethro Tull - recorded 1969 but released 1972, #11

Money - Pink Floyd - 1973, #13

These two songs used unorthodox time signatures: 5/4 and 7/4 respectively (Apparently the irregular beat did not interfere with general public's ability to enjoy the music). The clever use of cash register sounds to set the rhythm in "Money" is also an unusual introduction for a song.

Bohemian Rhapsody - Queen - 1975, #2

The blending of a soulful ballad, a rousing rock-out section, and a tongue-in-cheek opera make this virtuosic song an unlikely hit, but it has become one of the most enduring songs of the 20th century. Probably no other popular song has captured the essence of the surreal so well.

O Superman - Laurie Anderson - 1981, #2 (U.K.)

Everything about this song, from its half sung/half spoken lyrics to its vocoder vocals to its minimalist arrangement and rhythmic pulse built from repetitions of the sound "ha" cry out "anti-pop." Yet its eccentricity was its charm. Groups like Kraftwerk, the B52s and Devo were also having success with eccentric, anti-pop music during this period.

When Doves Cry - Prince - 1984, #1

Prince had to fight hard to stand his ground against Warner executives who could not imagine that a dance song without a bass part could be successful. But the brilliant omission of the bass line heightens the plangent, high register cries of his voice at the end of each chorus. With the minimal arrangement - drums, vocals and simple keyboard motive (augmented by strings in the final chorus) - Prince distills the music into its most basic elements: the percussive rhythm and the expressive lament of the voice.

While many artists continue to write music that isn't a slave to pop song format, such songs have largely vanished from the hit charts since the mid 1980s. Musically, the public has become much more conventional, shifting its focus from musicality to image and celebrity, which increases the pressure on artists to stick to the formula. Perhaps we'll someday see a resurgence of mainstream music that isn't afraid to break the rules.

More music articles at Song of Fire (obergh.net/songoffire)

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Getting The Most Out Of Your Salsa Lessons

This may sound simple but you simply must take lessons and if possible take two or even three a week if you can; especially at the start.

Why do we recommend you take so many lessons each week? Salsa music is complicated, may beats interwoven, and it takes time to tune your ears and feet to the rhythms.

By taking so many lessons at the beginning it reinforces what you are learning and will pay big dividends later on in the learning process.

When starting to learn Salsa its better to join a group lesson; private lessons are great for working on specific parts of your dancing but you will not get them most out of them until you have the basics down.

When joining a group lesson pick one for your level; its better to under estimate your ability than over estimate it.

There is nothing more off putting then arriving at your first lesson and find yourself out of your depth; surrounded by come dancing contestants!

Some tips on choosing the right group to learn with.

1) A class that runs for 6 to 10 weeks at least once a week.
2) The lessons are progressive; this is where you build up each week on the moves learned.

In your firs couple of months you should look too:

2 progressive classes each week

1 night out practice session at a club or event

1 private lesson after approx 5 weeks or more not essential but great to work on specifics.

Your First Lesson

Well done you have made it to your first class. May be you have come on your own or brought a dance partner. One thing we can guaranty is that you are feeling nervous.

You are worried that you have no rhythm, that you have two left feet which are on backwards. Most of all you are worried about falling flat on your face not able to dance Salsa.

As this is a beginners class look around you will see every one is looking and feeling exactly the same. You are not alone.

Remember its about having fun Its not a competition.

Here are some basic rules about lessons you should stick to what ever your level.

1. Find a teacher that suits you, its not one size fits all. There are many Salsa teachers and many ways to teach Salsa each person needs different things to enable them to learn. If your first teacher dose not do it for you find another. Your learning so get the most out of it by having a teacher and class that suits you.

2. Stay focused on what is being taught. This may sound a little simple but if you only have an hour to learn why waste it on chatting; you can do that after at the bar.

There are 1000s of distractions in class, your partner, other class members, that new cute dance partner that your about to dance with. Remember youre paying to learn Salsa; get your moneys worth.

3. Swap partner during the lesson. Yes thats right dance with different people. You may have come with a friend or significant other and want to dance with them. If the instructor is asking you to rotate your partners join in.

Why do this? it will speed up the learning process and get you used to dancing with different people; you will be doing this in the clubs. The major benefit is learning to lead and read a lead; by changing partners it will teach you to make the connection with your dance partner which will make your Salsa experiences much more pleasurable.

4. Face the same way as the instructor you are trying to follow. This will simply help you pick up the moves they are teaching much quicker. Sounds simple but you will be amazed out how many people dont do this.

5. Count out loud yes in the classes count out loud this is the one thing you should do all the time in class. I stress do this in the class so you dont have to do it in the Salsa club where it would not be accepted.

Both you and your partner should do this in the classes. Dancing in time to the rhythm is the most important part of dancing salsa. The simplest of moves or sequences look amazing when danced in time with the music.

6. Write down the move or sequence. Give your self time at the end of the class to write down what you have learnt. You will quickly develop a short hand for the different turns and moves that make up a sequence.

Dont ever stop doing this at what ever level you are at. I bet your instructor writes down the new sequences they learn. Again a very simple idea but it will speed up your learning no end.

Ok here is something that you need to understand it will take approximately 2 months to start find you feet. Some people are quicker but every one has that moment of enlightenment eventually when they feel the Salsa rhythm in their sole and the feet begin to follow.

We have said this before its about having fun not competing.

Lee has been dancing salsa for over 3 years and enjoys travelling all over the world to learn more about salsa dancing. He is the webmaster for http://youcansalsa.co.uk a Cuban Salsa dance website.

Did you find these tips useful? If you would like to find out more about Salsa dancing please visit http://youcansalsa.co.uk and discover how you can learn to dance salsa and be a hit on the dance floor!

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