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Wednesday, July 20, 2016

What Everyone is Saying about 'Into The Blue' (Press and Reviews)

Below you will find all reviews and press for my newest album, "Into The Blue". Keep checking this blog entry as more press and reviews will be added as they come.

‘Into the blue’ is a welcome departure that sees Adrian digging deep to deliver an album that pays tribute to the blues. With drummer Joey Heredia (Stevie Wonder) and bassist Paul Loranger (Eric Sardinas) on board as the rhythm section and with Kacee Clanton (Joe Cocker, Beth Hart) providing vocals on a number of tracks, 

Into the blue’ stands tall against any of the big blues releases we’ve seen this year (a list which includes Joe Bonamassa, The Rides and Eric Clapton) and further cements Adrian’s impressive reputation." - Sonic Abuse

October 2016 Guitar Player

Guitar Player Debuts the Single "Messin' With The Kid" May 2016

"A well-rounded exploration of every shade of the blues from L.A. based guitarist, Adrian Galysh can be experienced on his latest release, 'Into The Blue'.  A great album that displays his blues chops." - Dedicated Rocker Society

"Speedy finger work, a raucous riff and soulful vocals make Adrian Galysh’s “Barstool Monarchy” both bad-ass and masterful.

The first single off of Galysh’s upcoming album, Into the Blue, the track is chock full of vibrant guitar solos, driving beats and a "welcome to the party" vibe. It’s a perfect example of well-executed, straight-up blues rock." - Guitar World

Guitar World magazine debut's the single "Barstool Monarchy" May 2016

Adrian is featured in the Argentinian magazine "Todo Guitarra", discussing "Into The Blue" as well as life as an independent artist.

Cover status on Argentinian magazine.
Adrian Galysh feature interview

Adrian Galysh was a recent guest on LA Talk Radio's "All About Guitar" with host Jeff Floro. Download the MP3 of this in depth interview here.

Adrian Galysh talks tone with Seymour Duncan's Jay Hale in this interesting interview where they discuss writing and recording the new album, guitars, gear and tone!

"Adrian Galysh is seemingly one of the busiest guitarists in the Los Angeles area.  Followers of his social media streams get regular notifications of gigs at the legendary Baked Potato and guest spots at Hollywood’s Ultimate Jam Night, as well as for sets he plays at local wineries and aeronautic events and more. When last we spoke with Adrian he was releasing 2014’s Tone Poet, a soaring musical landscape of tones and textures. This year he’s back with Into The Blue, a more vocal blues-oriented record that features epic blues grooves, a great production, and the vocals of Kacee Colton (Joe Cocker, Luis Miguel) on many songs in addition to Adrian’s own vocals."  - Seymour Duncan Blog

Read the whole interview here.

Fireworks UK Octo-Dec 2016

Adrian was interviewed by Dirty D at, listen to this fun interview here:

Listen to Adrian discussing "Into The Blue", guitars, writing and recording with Bradda-EKG on Malibu's 97.5FM...

San Fernando Valley's own "Valley Scene Magazine" featured the release of "Into the Blue" in it's May issue:

"Into The Blue" debuts at #1 on the iTunes Blues Charts on May 25th, 2016.

"Now here’s an excellent album of blues from L.A. based guitarist, Adrian Galysh who along with drummer Joey Heredia (Stevie Wonder) and bassist Paul Loranger (Eric Sardinas) as well as guest vocals from Kacee Clanton (Joe Cocker, Beth Hart) on some tracks and they’ve turned in a really enjoyable set." -

Read the whole review here.

An Interview from VISION Magazine, Issue #2

Tuesday, June 7, 2016

The story of INTO THE BLUE, Writing and Recording Detailed Track by Track!

Here is the story of INTO THE BLUE, track by track!

1. “Let Your Hammer Ring” (Galysh) - This was originally supposed to be a vocal song, based on the chain gang work-song chant you hear sampled throughout the song, but it didn't make sense to have Kacee sing it as the original lyrics were from a male perspective - and I couldn't do it justice. Instead of scrapping the tune altogether, I decided to make it an instrumental. After it was finished and mixed, I decided to make it the album opener as it sets the tone for the album really well.

2. “Barstool Monarchy” (Galysh/Clanton) - This upbeat song started with the opening riff, which is revisited throughout the song. Very much inspired by Jimi Hendrix and Deep Purple. This song features a great '69/'70 Fender Stratocaster I acquired at auction. The guitar was all original, sounded GREAT, and delivered the perfect Hendrix-era Strat tone for this tune!

3. “Unloveable Me” (Galysh/Clanton) - Inspired by the tone of that '69/'70 Stratocaster, I started writing this ballad with the descending rhythm guitar part that opens the song. The chord progression wrote itself in a day, and I was off and running, overdubbing more guitars, bass, organ, piano and strings, aiming to achieve a classic blues ballad sound. All of the solos are the original takes from the demo, and just came out so well, I refused to retake them. The whole song was there, solos and all. Then Kacee came up with lyrics and a hell of a melody. This song has my favorite guitar solo on the album.

4. “Messin’ With The Kid” (Mel London) - This is a very fun tune to play live, and a song I know I wanted to record as soon as I decided to make a blues album. This song goes over really well in concert and has a fun audience participation section that I included on this recording. I wanted to bring a modern approach to this classic song that I first heard the Blues Brothers do, and came up with a Robben Ford-esque arrangement, and invited guitarist Carl Verheyen lay down a guest guitar solo. 

5. “Nobody Knows You (When You’re Down and Out)” (Jimmy Cox) - This is a song I first heard from another guitar teacher, while teaching at the National Guitar Workshop about 9 years ago. I loved hearing it then, and sought out the the version he referenced from Derek and The Dominoes. While I like that version, I found the performance could have been more dynamic. So, I set out to make my version THE definitive version. I think it turned out very well, with a very powerful and dynamic performance, especially Kacee's vocals. She's such a great singer, and did may be two takes and that was it, perfect.

6. “The War” (Galysh/Clanton) - The main riff and chord progression was inspired by the Peter Green/John Mayall song "Another Kind Of Love", but totally sped up. I dug the sound I ended up with, but at that tempo it seemed to lose the blues shuffle feel. Thankfully vocalist Kacee Clanton wrote some great lyrics to this that really took it to a mother level. This song successfully brings together all my favorite 70s influences including Ritchie Blackmore, Eric Clapton, Jimi Hendrix, Uli Jon Roth and Robin Trower.

7. “Who Am I To Say” (Galysh/Clanton) - I had the idea for the acoustic rhythm guitar parts for a long time, but I've never had the right opportunity to use this them until now! I borrowed the tuning from Jimmy Page, and naturally the song takes on a Led Zeppelin-like quality. The tuning is from low to high: D - A - D - A - A - F#. 

In the middle of the song, you hear some bluesy slide guitar solos, but I'm a horrible slide guitar player. I own a slide. Two in fact, but completely suck at using them! After some failed attempts at playing proper slide guitar for the solo sections, I ended up recording "faux" slide, using the Floyd Rose whammy bar on one of my Brian Moore guitars. So far, no one can tell!

8. “Further On Up The Road” (Veasley/Robey) - A classic blues song that I've been including in my live set for years. I changed up the usually rhythm guitar parts, wanting to get a more driving feel from the whole rhythm section. This song features myself on vocals, and special guest guitarist Johnny Hiland from Nashville. Johnny sent me six takes, five of which were pretty rockin' with tons of gain, but in the end I knew I wanted his signature chicken picking sound and went for that. He knocks it out of the park - a real fun track, for sure. 

9. “Why Am I Singing The Blues” (Galysh/Clanton) - This is one of the first songs written for INTO THE BLUE. A bluesy ballad, that started with me exploring a Jimi Hendrix style approach to rhythm guitar, similar to songs like "Little Wing", "Wind Cries Mary", and "Hey Joe", with that gospel style sound. That was the basis for the song, and the first part recorded. Just about everything was in place on the demos before the lyrics were written and recorded: Lead guitars, rhythm guitars, B3 organ, piano, strings, bass and drums. I had a rough draft of lyrics and the idea of the title, "Why Am I Singing the Blues", which Kacee refined and rewrote to give a clear story line to the song. My original idea of the vocal melody did't sit well with her vocal range, and at first we thought Id' have to rerecord the whole song in a different key, but after spending some time with it, she came up with a much better melody that did't require a key change - thank god! This is my favorite song on the album, and I think it successfully combines my guitar style and song writing style with a very organic, bluesy sound.

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Wednesday, April 20, 2016

Guitarist Adrian Galysh To Release New Blues-Rock Album Into The Blue On May 25, 2016

LOS ANGELES (April 18, 2016) – Renowned guitarist Adrian Galysh will release his fifth solo album Into The Blue on May 25, 2016, featuring nine blues-rock tracks with guitar and vocals that take the West Coast guitarist into an entirely new musical direction. 

 Produced and recorded by Galysh in Los Angeles, Into The Blue draws heavily on the guitarist’s ‘70s-era influences. Galysh shares vocal duties with powerhouse vocalist Kacee Clanton, known for her soulful work with Joe Cocker, Luis Miguel, Beth Hart, and Janis Joplin’s band, Big Brother and The Holding Company.


And while Into The Blue is an all-vocal blues-rock affair, fans of Galysh’s guitar-centric style will enjoy this very guitar-driven record. The album also features special guest performances by studio session ace Carl Verheyen (Supertramp), who plays on Galysh’s energetic version of the Junior Wells classic “Messin’ With The Kid,” and chicken picker Johnny Hiland, who takes a string- and mind-bending guest solo on Bobby Blue Bland’s “Further On Up The Road.” 

 The album’s rhythm section is rounded out by the stellar and authentic blues talents of drummer Joey Heredia (Stevie Wonder, Tribal Tech), and bassist Paul Loranger (Eric Sardinas). 

“Playing blues guitar needs to be a concise statement, and requires simple, good tone,” said Galysh. “Into The Blue offers just that – blues-inspired songs that are straightforward in their arrangement, sound, and instrumentation. I didn’t want to waste a single phrase, and wanted to ensure that every solo reflects the song’s feel and intent.” 

Praised by artists like Jennifer Batten and outlets like Power Play Magazine, Galysh has a successful trajectory spanning four previous solo albums and numerous collaborations and performances with industry giants like Uli Jon Roth, Yngwie Malmsteen, Robben Ford, Mike Keneally, George Lynch, Warren DeMartini, and many more. 

 Into The Blue will be available on May 25, 2016 via iTunes,,, and Preview Into The Blue now at 

 Track list
1. “Let Your Hammer Ring” (Galysh) 
2. “Barstool Monarchy” (Galysh/Clanton) 
3. “Unloveable Me” (Galysh/Clanton) 
4. “Messin’ With The Kid” (Mel London) 
5. “Nobody Knows You (When You’re Down and Out)” (Jimmy Cox) 
6. “The War” (Galysh/Clanton)
7. “Who Am I To Say” (Galysh/Clanton) 
8. “Further On Up The Road” (Veasley/Robey) 
9. “Why Am I Singing The Blues” (Galysh/Clanton)

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Wednesday, October 28, 2015

Family, friends, and fans…. I’ve spent the last 27 years practicing my passion of creating and performing melodic rock guitar music. My friends and family who know me can tell you how independent, focused, and entrepreneurial I am. I have independently released four solo albums, an album of jam-tracks, and an instructional guitar book.

While my last album, Tone Poet, was a strong effort, it is my hope that my next album will take me to new musical ground, and even broader audiences. The next album will be squarely focused on bringing a fresh perspective to blues-rock music.

This blues record will be an exciting vehicle to debut my vocals in addition to my guitar playing, as well a feature a number of very special guests.

By pledging you’re not only pre-ordering the album, but you’ll also be getting a very unique all-access pass to the inner workings of the recording process including exclusive updates and behind the scenes video footage.

Partial proceeds exceeding my goal will go to ALS TDI, a charity that funds medical research and therapy for people suffering from Lou Gehrig’s Disease. I hope we can knock it out of the ball park!

-Adrian Galysh

Tuesday, June 3, 2014

What Steve Vai Taught Me About Performing

A number of years ago, while I was in college (mid 90s), I got to witness Steve Vai perform on multiple occasions. The first was on the Sex and Religion tour when his band played at Graffiti's club in Pittsburgh, with Devin Townsend on vocals. The show was simply amazing, and contained everything... heavy hard rock vocal numbers, melodic instrumentals, great audience participation, percussion/drum solo, jazzy numbers, mind boggling extended solos, and an amazing, and inspired energy.

A couple years later, I saw Steve play on the first G3 tour, and this was a much more concise performance, limited to 45 minutes, and his best material, but still inspired. A year or so after that, he toured behind the Fire Garden album, again playing at Graffiti in Pittsburgh. This show, again was jaw dropping, and felt so special, as if we were witnessing magic, on a particularly inspired evening. The crowd interaction, Steve's between-song banter, and the performance was just ...special.

I decided to drive down to Washington DC to catch the next show that weekend. This show was at the  now defunct Bayou in Georgetown. I brought a guitar student and my older brother with me... they had to witness what I saw in Pittsburgh. Much to my surprise, this show was nearly identical to the show in Pittsburgh, just two nights before. The same set of songs, the same between-song banter, the same crowd participation scenario, almost every thing about it was the same. As soon as it occurred to me that Steve and the band were playing the same thing every night (hey, I was young and I assumed they changed it up), I was a little disappointed. That show in Pittsburgh wasn't special, it was like all the other shows...

This disappointment quickly faded, as I witnessed a seemingly just-as-inspired performance in Washington DC. Steve and the band were still giving 100%. Sure, it was a similar performance to the other night, but that didn't stop them from delivering. There were two differences from this show and the previous one and I relished them. First, Steve's amp crapped out in the middle of the song "Brothers", right before his solo would have started. His band played on, with Mike Keneally taking a keyboard solo while the crew scrambled to replace the amp - which they did just in time for Steve to deliver THE solo!  Secondly, towards the end Steve decided to smash his guitar to bits, and throw it into the audience, and then proceed to crowd surf in a very packed Bayou club. OK, now that was cool. (If Steve reads this, maybe he can interject a little about what he was feeling that night that prompted this.)

My take away from this was an important music lesson for me. When you are performing the same set of songs over and over, or if you are performing a song that you may feel is easy or boring, you can't let it be easy or boring. Your mind should be on multiple things:

1. Song Arc: Be mindful of the overall dynamic arc of the song, from intro, to verse, pre chorus, chorus, etc... How are you going to shape the song?
2. Part Arc: Each part of the song (Intro, Verse, Chorus, Bridge) has it's own dynamics, timing, and feel. How are you shaping each part of the song? Is it similar or in contrast to the other parts?
3. Line Arc: Each part of a song is made up of musical lines. Are you paying attention to the phrasing of these melodies and/or chord progressions? There may be a question and answer quality to these lines, are you performing them effectively? How are you shaping these lines?
4. Note Arc: Each melodic line or chord is made up of individual notes. How are you shaping these notes? Are they staccato, legato, loud, quiet? Does the timing occur ahead of the beat, or behind it? What is the envelope of each note and chord?

With all of this to think about, you can guarantee that the performance won't be "phoned in". You should be on your toes through every part of the performance. While much about performing is having the material down so well that it becomes second nature, you should always be mindful of how you shape each part of the song (on the macro and micro level). This will guarantee that you are "in tune" with the song, and can go a long way to delivering inspired performances no matter how many times you've played the set of songs.

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Monday, April 21, 2014

11 Pieces of Advice I Wish I Heard When I was a Music Student

Last week I recently received an email from a guitar student in his freshman year at my alma mater, Duquesne University, in Pittsburgh, PA. He was asking for some advice, stating,"Adrian, … I am a freshman guitar performance major at  Duquesne.  You are an inspiration to me because you are doing exactly what I hope to do one day and I was hoping you could tell me a little about how you got there. Thanks man.”

It’s funny, because I think people’s perception of “success” changes over time, and quite frankly, for some, it never feels like it has been obtained, no matter how much they have accomplished in their chosen field.

So considering this, my response was, “Hello, thank you for your message, I'm flattered. My story is a long one, but I think if you are looking for some career advice, I have some. I'll base it on what has worked for me, mistakes I've seen others make, and even stuff I wish I had done.”

You can see my advice below. After I read it, I wished someone told me some of this stuff when I was his age.

In no particular order:

1. You are at Duquesne, a great music school. I had a lot of fun there and excelled. I can't think of a music class there that wasn't important to my development as a musician... but while music is not a competition, the music business is. Look around to see how much people are practicing, and practice more. 

2. I'll assume you are in choir, which is great. I wish I continued to pursue singing more. If you aren't now, make sure you are working on your vocals. I love instrumental music, playing it and composing it, but the amount of gigs I could have gotten had my vocals been more together could have made a big difference. I am now singing more, and it's paying off. Every band audition I have gone to asks about singing.

3. My general advice to musicians is: Perform as often as possible, with as many people as possible, for as many people as possible. This is important. You will be making contacts that will turn into opportunities much faster the more gigs you play. A band leader, audience member, manager, agent, club owner, fellow musician, etc... will eventually refer you to another, bigger, better gig. The experience of performing, and entertaining is important and something you can really only learn on the job. In addition, you will be expanding your repertoire and musical vocabulary along the way.

4. When you look for a job, try to only do music related jobs... like teaching. I regret taking some office jobs for a few years, it kept me from getting where i am today that much sooner. Your 20s are a perfect time for living on hotdogs and paper plates, so pay your dues then, not in your mid 30s and 40s.

5. Take a performing job at the local theme park, or during the summer on a cruise ship. I didn't, but the guys who did ended up with serious reading chops that will come in handy for session work. Don't be embarrassed about playing goofy "Mickey Mouse" type music there, because your friends will be flipping burgers or working at the GAP... but, you'll be honing your chops, expanding your vocabulary, and meeting other musicians, playing 3-7 sets a day.

6. Buy these books and read them thoroughly: "Guerrilla Music Marketing Handbook" by Bob Baker (this book will give you the fundamentals of marketing, and sales, and help you get some success under your belt). "Everything You Need To Know About The Music Business" by Donald Passman (this book will aid you when the industry  start to recognize your success, and keep you from getting screwed). "The Music Lesson" by Victor Wooten (everything you kinda knew about music, but couldn't put into the right words).

7. Learn Jazz, Blues, Classical, Rock, Metal, Country, and finger style acoustic playing. Have a firm grasp of these and you can teach more students, perform more gigs, and record more sessions.

8. As soon as you have enough money saved, move to LA, NYC, or Nashville. In this day and age of internet, a lot is possible, but if you want the referrals and opportunities for the BIG gigs, they happen there. I don't know of anyone from my home town of Fairfax, VA who has gotten that huge tour/gig ... that didn't move to a music mecca first.

9. You can only rely on yourself. This business is rough, it isn't easy. Be focused, keep your eye on the ball. Those with a weaker stomach will quit, thinning "the herd", but you'll be gigging, networking, and getting your reputable name out there. Get a website and start putting together a press kit about yourself. You might not have much to put in there now, but its a start. When networking, it's not about what others can do for you, its really about what you can do for them. However, one day you may want to cash in on all those favors.

10. Be on time, know the material, perform, and know that there is huge value in that. Anyone can play great guitar (just check youtube!), but apparently not everyone can show up to a gig on time and know the material. Be polite, professional, and keep negative opinions of other artists to yourself. 

11. As a professional musician you will have to wear many hats to make ends meet: Teacher, Band Leader, Sideman, Session Guitarist, Songwriter, Producer, Engineer, Composer, Author, Clinician, Solo Artist... get started now.

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Tuesday, February 11, 2014

What Everyone is Saying about 'Tone Poet' (Press and Reviews)

Below you will find all reviews and press for my newest album, "Tone Poet". Keep checking this blog entry as more press and reviews will be added as they come.

"Tone Poet is definitely one of those albums where the sum is greater than the parts and the way the album flows across styles so effortlessly is one of its main strengths. The recording too is excellent – the punchiness of the drums really adds a lot to the dramatic impact here that Galysh has strived for." -

"Technical proficiency is alive and well on this offering of half pop-metal songs, and half melodic prog instrumental workouts". - Modern Drummer 

""Tone Poet" presents an entertaining balance of melody and menace - power and passion." -

    Read the whole review by clicking here:

Artist Empowerment Radio Podcast Interview

*An interview with Bob Baker for his podcast, "Artist Empowerment Radio". Bob is the author of the excellent book, "Guerrilla Music Marketing for Musicians", which I highly recommend! 

    *Have a listen to Part 1 here:

    *Have a listen to Part 2 here:

Seymour Duncan Interview

Adrian talks Tone with Seymour Duncan pickups' Jay Hale in this interview. Read the complete interview here:

"Guitar fans will love this album as will prog metal fans as Adrian’s playing and songs complement Mark Boals vocals so well." -

"Every once and a while a musician comes along and releases an album that truly deserves attention and accolades.  In 2013, that musician is guitarist Adrian Galysh and the album is Tone Poet... Tone Poet rocks, is creatively excellent and sonically superb. Buy this one and play it loud and often." -

     Read the whole review by clicking here:

Guitar Player Feb. 2014

"You don’t even have to be a “guitar guy” to get into this one, you just have to have an appreciation for rock music that’s on the creative side." -

     Read the whole review by clicking here:

"In the daily muddle of music submissions, every once and a while, there comes an album that's bright and refreshing, even unexpected. Such is the case with guitarist and composer Adrian Galysh's fourth album, Tone Poet." -

     Read the whole review by clicking here:

9/10! "This is something different and wonderful, and it should be savored". - Power Play Magazine (April 2014)

"It's remarkably understated for a solo album by a virtuoso guitar player and is full of really nice melodic moments and can be rewarding to repeated listens. If you have wide musical horizons and enjoy tasteful musicianship then 'Tone Poet' is definitely worth a listen." -

Read the whole review by clicking here:

"If you seek music that is different, moving, and mind expanding; your search is over, 'Tone Poet' is sure to satisfy and it's a keeper. The musicianship on this recording is truly world class." - Tony Cruz Sison

      Read the whole review by clicking here:

Interview with Dedicated Rocker Society 

"Hailed by critics and fellow musician alike, Los Angeles guitarist Adrian Galysh, showcases his guitar talents with anthem-like instrumentals, that put the focus squarely on catchy, memorable melodies. "I suppose its because I grew up listening to the hard rock bands of the 70s and 80s, like Van Halen, Scorpions, and Deep Purple," Galysh testifies, "I always enjoyed big riffs, catchy choruses, and interesting musical hooks". - The Dedicated Rocker Society

Interview with Classic Rock Revisited

"Classic Rock Revisited caught up with rock guitarist Adrian Galysh’s new album titled Tone Poet, which features vocalist Mark Boals and Styx drummer Todd Sucherman.  The album is a rich, well crafted, brilliantly composed work of art. In the interview below, Adrian takes time to share how the album came to be, his creative process, how he approaches guitar solos and his future plans.Enjoy this interview with a guy that may be under the radar, for now, but with Tone Poet, will be growing in both reputation and popularity."

     Read the whole interview by clicking here:

"Although Adrian was soloist, but this album Tone Poet, contained half vocalized track. This unfortunately makes him 'half-banned' from the guitar shred instrumental album. But his half of instrumental tracks really paid off the situation and make it great for guitar fans. Check him out as well as this awesome album." -

Read the whole review by clicking here:

"Melodic, yet powerful is how I would sum up the music of  Tone Poet from Adrian Galysh. The fluidity of his work on the fret-board is hypnotic and magical. If you love music made for the love of music Tone Poet by Adrian Galysh is a necessity in you music collection." -

      Read the whole review by clicking here:

"Galysh has crafted an album with an abundant musical landscape with plenty of multi layered musical pieces featuring choral vocals, orchestral pieces and keyboards alongside his guitar which obviously takes the focal point of all the tracks." - Woody's Melodic Rock and AOR Reviews
     Read the whole review by clicking here:

"The album begins with a church-like choir, bringing Galysh's two-minute solo on to a higher purpose in "Resurrectis." The band moves like a tight unit through "Brick By Brick" as Galysh combines orchestration with his hard rocking solo. The tempo slows down quickly for the power ballad "When You Fall," which showcases Boals' vocals perfectly." - JP's Music Blog

"A chorus, an orchestra, and Adrian Galysh's guitar opens Tone Poet. His lead lines weave over piano and something seems to be brewing, as if this is an opening overture to a larger experience." -

     Read the whole review by clicking here:

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