Adrian Galysh taps Alice Cooper Drummer Glen Sobel for New Album

FOR IMMEDIATE RELEASE

Guitarist Adrian Galysh has enlisted Alice Cooper stickman Glen Sobel to lend his talents to Venusian Sunrise: 20th Anniversary Edition. Sobel brings both world-class drumming and a wealth of experience to the project, including touring and recording with such legendary artists as: Paul Gilbert, Jennifer Batten, Tony MacAlpine, Beautiful Creatures, and, of course, Alice Cooper. 

Galysh has been described as “A virtuoso of modern electric and acoustic guitar techniques” by 20th Century Guitar magazine. He’s been dazzling audiences for over 20 years, whether backed by his own band, or as sideman for ex-Scorpions guitar-god Uli Jon Roth. 

Prior to being recruited by legendary shock-rocker Alice Cooper, Sobel performed regularly with Galysh, making him an easy and evident choice for the project.

“Glen is the perfect drummer for instrumental guitar music,” declares Galysh. “His curriculum vitae of recordings with Gary Hoey, Jennifer Batten, Tony MacAlpine, Impellitteri, and Paul Gilbert, make his playing instinctively ideal to the genre.” Galysh continues, “Glen is already familiar with the material, having played much of it live with me years ago. Of course, he also has the chops to take this record to the next level.”

Drums for Venusian Sunrise will be recorded by Ryan Greene (Megadeth, NOFX, Dishwalla) at Validus Recording in North Hollywood, California. 

Celebrating the 20th anniversary of his debut release, Venusian Sunrise (1998), Galysh will be re-recording the entire work, recalling that, “Venusian Sunrise was recorded in my parent’s basement on a single Alesis 8-Track ADAT recorder. While the performances are commendable for their time, given limited resources at the age of 22—it lacks what 20 years of experience and advancement in recording technology can now easily provide—richer guitar tones, advanced recording techniques, the palatial keyboard and realistic orchestral sounds of today, and maybe most importantly…real drums!” 

Galysh adds, “The new version of Venusian Sunrise will be performed and recorded the way I wished I could have done it back then, but with the tools and know-how that didn’t exist in the day.”

Production limitations notwithstanding, Venusian Sunrise was one of Galysh’s best-selling albums, released during the halcyon years of compact disc sales and the burgeoning days of independent record labels. As an independent release it garnered coverage in guitar magazines and a growing number of online review websites, firmly establishing Galysh as an up-and-coming player in guitar circles of the time.

Venusian Sunrise: 20th Anniversary Edition will be released this summer and available at all online retailers.

Venusian Sunrise: 20th Anniversary Edition is available for pre-order at https://www.pledgemusic.com/projects/venusiansunrise

For more information, please visit www.AdrianGalysh.com 

Adrian Galysh announces Venusian Sunrise: 20th Anniversary Edition

Noted guitarist, composer (and Guitar World columnist) Adrian Galysh has announced Venusian Sunrise: 20th Anniversary Edition, a re-recording of his 1998 debut album, Venusian Sunrise.

“Venusian Sunrise was recorded in my parents' basement on a single Alesis 8-track ADAT recorder," Galysh said. "While the performances were the best I could do with limited resources at the age of 22—it lacks the richer guitar tones, huge advances in recording technology, and realistic orchestral sounds of today, but most importantly, it lacks real drums!”

“The new version of Venusian Sunrise will be performed and recorded the way I wished could have done back then," Galysh adds, "but with the tools and know how that didn’t exist at the time."

You can find out more about Venusian Sunrise: 20th Anniversary Edition through Galysh's PledgeMusic campaign for the album, which you can check out here.

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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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Styx's Todd Sucherman: Exclusive Interview & Behind the Scenes Studio Footage

Most music fans may know of Todd Sucherman from seeing him play drums on tour with 70s & 80s rock giants, Styx, for the last 17 years. The perennial arena rock favorites perform a healthy schedule of over 150 shows a year. Drummers know of Todd Sucherman from the pages and covers of DRUM! and Modern Drummer Magazine, where he's won multiple reader's poll awards, including #1 Rock Drummer (2009 Modern Drummer).

I’ve known Todd for about 10 years. We were neighbors in Los Angeles before he moved to Austin, Texas. We’ve discussed working together for a long time, but due to his busy tour schedule and the distance (I still live in LA), we weren’t able to do it till now. Todd is a really tasteful drummer, very musical, with a ton of chops - totally in league with the likes of Colaiuta, Smith, and Bozzio. His performance on my new album, Tone Poet, is outstanding, and really shows off a side of his playing that people may not have heard yet. Every time I listen to the his tracks on Tone Poet I hear something new, clever, and musical - and I love that. (note: Tone Poet is available on itunes here)

Below is a recent interview I did with Todd, where I was able to get better insight into what made him the player his is today, as well as discuss his approach to tracking for Tone Poet.

Hi Todd, I assume you are on tour, how are you and where are you?

I am and I'm good.  A little crispy perhaps but good!  I'm on the Oregon coast at the moment but I've been to Europe twice and everywhere in the US from coast to coast in the last few weeks.

Lets start at the beginning. Your father was a jazz drummer, and got you into drumming, as well. What’s your earliest memory of playing the drums, or wanting to play drums?

I was in love with the drums since I was an infant. It's all I ever wanted to do from the beginning.  My father saw that I had an interest and a sense of rhythm early on so he worked with me and got me to the point where I played my first gig (with my older brothers) at age six. 

You got started early! Did you ever take lessons, as a kid?

Yes, starting with my father and because I had two older brothers in the junior high band  (on piano and bass guitar respectively) they paved the way for me to be in the junior high band from first grade on all the way through eighth grade.  Then I went through the high school band program all the while gigging on weekends and really didn't take any proper lessons until I went to Berklee in Boston for one year.

Beier Steel Snare  http://beierdrums.com

Before scoring the gig with STYX, what kind of work and gigging were you doing in Chicago?

When I got back from Berklee I did every gig possible. You name it.  I played tons of weddings and corporate parties, jazz clubs, rock clubs, basically anything and everything I could do. This lead to getting into the recording scene and doing records and a lot of jingles.  Chicago was a giant jingle town back then and that was a very exciting time. I was young and had kits being carted all over the city to different studios.  Those were great times.

That leads me to my next question. You got called to record for Styx when John Panozzo fell ill. Typically musicians get gigs by “knowing somebody”... who’d you know, and do you remember how it felt to get the call to become a “permanent” member of Styx?

Keith Marks, who handled the cartage of my gear from studio sessions recommended me to the guys. That's how it began basically.  Just a session. Then they called me for another session almost a year later. Then they asked me if I had summer plans, and that was for the '96 reunion tour.  I've never been made a "member", I've just sort of hung around for the last 17 years, so to speak!

Styx seems to tour non-stop. Do you still get inspired to practice when you are on a day off or at home? If so, what kind of stuff do you work on?

It helps to have new things and projects to practice for…as opposed to just being alone and thinking, "what shall I do today?" But it does feel good to sit at my little jazz kit and work on different things instead of playing high velocity rock stuff.  I try to let any inspiration hit me which is different than forcing things. If I get "stuck' I'll change some cymbals and grab a different snare drum, that will change the vibe right away.

Lets talk about your participation in my album, TONE POET. The first tracks I sent you were pretty rough. I’m pretty non-committal, and my demos will tend to be the framework of the song, with programmed drums, scratch guitars (except some solos), and a shit load of keyboard programming. What was your reaction when you first heard the tunes?

I'm used to hearing demos in all forms, from rough sketches to almost all final takes.  But I could hear a lot of cool things in what you sent and was keen to add some ideas to the process. I start thinking right away as I listen, then just listen, then think again.  There were some challenging bits musically and physically all the way to having to be ethereal and sensitive.  Music. Diversity.  It was a lot of fun to do!

You did a lot of listening to these demos while on the road. You had one day to record 5 tracks, and they turned out great. How did you prepare for this session? Do you chart things out?

It was exactly that.  Listen on the road, listen on airplanes, and then it's time to see if what I was hearing from the drums worked in the session, which was in fact done in one day.  I'm happy you liked them!

Were any musical parts or songs particularly challenging?

"Echoes of El Greco" was physically taxing.  I'm glad that went down quickly as that's the kind of track that will blow you out doing it over and over and over.

The track “Ur of the Chaldees” has a lot of layers and multiple tracks of percussion, drum set, and orchestral type playing, did you have a clear idea of how those parts were going to go down, or did you go for it and see what fits?

Part of it was predicated on some information from the original demo, and then I went from there. I have a few percussion bits I like to do that are subtle and effective.  I enjoy trying those ideas and seeing what works and what doesn't.  I love when the full kit kicks in for the end ride out. The whole piece is very majestic.  Like taking acid while riding an elephant through an exotic triumphant parade. How's that, huh? 

I'll have to use that quote in the press release, ha! Now that the album is mixed and mastered, is there a favorite track?

No, because there are moments I enjoy on each track.  I like it that way.  I like when I feel that way about a collection of songs.

Can you run through the drums, cymbals, and other gear you used for this session?

Oh man. I used a Pearl Masterworks kit for the drums with a few snare drums, probably 5 different ones.  I seem to remember using a Dunnett Magnesium, a Tempus drum made of hemp, the Sucherman/Stanbridge Empyrean, perhaps the Dunnett Titanium.  There were a whole bunch of Sabian cymbals chosen for each track so that would be impossible to remember. All the microphones were Audix going through Presonus ADL 600, Neve and Focusrite mic pres.

So besides further touring with STYX, what is on the horizon for you musically?

Good question as I'm not sure.  "You're catching me in a transitional phase" so to speak!  I have some ideas and notions but not sure where they will lead.  I'm still enjoying playing with the band for now, so I'm quite content.  I'd like to do my own record at some point but we'll see. There's a lot involved with that, as you know.

Thanks Todd!

For more information, visit www.AdrianGalysh.com

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"Tone Poet" Album Details Revealed

LOS ANGELES, Calif. (Sept. 25, 2013) –  Melodic instrumental rock guitarist Adrian Galysh will release Tone Poet, on December 3rd, 2013. The album includes 12 tracks featuring vocal rock songs, instrumentals with world music influences, and sweeping orchestral works. While epic in scope, the album is tied together by Galysh’s tasteful guitar work and compositional style which  is complemented by vocalist Mark Boals (Yngwie Malmsteen, Royal Hunt, Uli Jon Roth), bassist Philip Bynoe (Steve Vai, RIng of Fire), and grooves by world-class drummer, Todd Sucherman (STYX). 

Described as “a virtuoso of modern electric and acoustic guitar techniques” by 20th Century Guitar magazine, Galysh has a successful trajectory spanning three previous solo albums and numerous collaborations and performances with industry giants like Uli Jon Roth, Dweezil Zappa, Yngwie Malmsteen, Robben Ford, Mike Keneally, George Lynch, Warren DeMartini, and many more.

Galysh confesses, “Tone Poet is my most mature album. I’ve written a very melodic, musical, collection of tunes, that includes my progressive hard rock influences, classical, and world-music influences. Mark Boals’ powerful voice and Todd Sucherman’s tasteful drum playing are right in sync with where I am at, musically.” 

Tone Poet album artwork was illustrated and designed by Kristina Maloney. 

Tone Poet track-listing:

1. Resurrectis  (2:28)

2. Brick By Brick  (5:42)

3. When You Fall  (5:17)

4. Flying  (5:17)

5. Movie in My Mind  (4:25)

6. Luminae  (3:42)

7. La Dolce Vita  (4:47)

8. Tone Poet  (3:44)

9. Epoch  (3:05)

10. Echoes of El Greco  (3:53)

11. Ur of the Chaldees  (6:12)

12. Spring (The Return)  (5:22)

Adrian Galysh: Electric and Acoustic Guitars, Bass, Keyboards, and Programming

Charlie Waymire: Drums on tracks 2, 3, 4, 5

Philip Bynoe: Bass on tracks 4, 5, 8

Todd Sucherman: Drums on tracks 7, 8, 10, 11, 12

Guitars, bass, and keyboards were recorded at Adrian's home studio. Charlie Waymire's drums were recorded by Lizzy Ostro at Ultimate Rhythm Studios in Panorama City, CA; Todd Sucherman's drums were recorded by J.R. Taylor and Todd Sucherman at the Bee Hive in Austin, TX.

Tone Poet was mixed by Jessie Billson, except tracks 1, 6, and 9 mixed by Adrian Galysh. Mastered by Vinnie Simonette at Little Simy, Alexandria, VA. 

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9 Ways to Improve Your Guitar Playing Now

Hello guitar players!

If you are like me and many other guitarists, you love playing guitar. You love practicing guitar. However, sometimes your practice sessions may end up being a little.... boring.

While I like keeping my fingers moving, on occasion I find myself, and my students, falling into a rut, practicing the same routines, scales, songs, etc., and not progressing, musically. So I recently set out to put together a series of lesson videos containing ideas that will take you out of your rut, and help you take your playing to the next level.

You can always visit my Youtube channel at http://www.youtube.com/adriangalysh for all my various video lessons and performance videos, but I wanted to put all my "Rut Buster" videos in one convenient spot for you...

1. "Setting Goals"


2. "Metronomes and Acoustics"


3. "Phrasing"


4. "Syncopated Phrasing"


5. "Playing With Other Musicians"


6. "Get Out of Your Wheelhouse"


7. "Become a "Well-Listened" Guitarist"


8. "Record Yourself"


9. "The Scale That Will Change Your Life"


Keep an eye out here for more in my series of Rut Busters for Guitarists videos...

For more information, visit www.AdrianGalysh.com

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What does Steve Vai and Adrian Galysh have in common?

LOS ANGELES, Calif. (May 14, 2013) - Rock guitarist Adrian Galysh has enlisted three-time Grammy nominee and Emmy Award-winning bassist, Philip Bynoe, to contribute bass tracks to his new album, Tone Poet. Philip Bynoe brings to the record both world-class bass playing and experience from years of touring and recording for artists such as Steve Vai, Kevin Eubanks, Slash, and Ring of Fire. 

Bynoe and Galysh have had a long musical friendship, having played on Galysh’s 2002 release King Friday. According to Adrian, “I’ve known Philip for over 16 years. We met during the first G3 tour in ’96, we both moved to LA at the same time, and we have been playing together for over 12 years. He’s my first call, go-to bassist with a great feel and groove that pushes the music forward. The tracks that he plays on really benefited from his superb bass playing.”

Philip says, “I've been playing and recording with Adrian for a long time and his newest endeavor, adding a vocalist to his songs, is some of his best songwriting yet. I look forward to the new direction this music will take Adrian career-wise and have high hopes for great success in the years to come.”

Described as “a virtuoso of modern electric and acoustic guitar techniques” by 20th Century Guitar magazine, Galysh has a successful trajectory spanning three solo albums and numerous collaborations and performances with industry giants like Uli Jon Roth, Yngwie Malmsteen, Carl Verheyen, Mike Keneally, George Lynch, Warren DeMartini, and many more.

Galysh is preparing the release of his fourth solo album Tone Poet, due summer 2013. The album includes 12 tracks featuring vocal rock songs, instrumentals with world music influences, and sweeping orchestral works. His tasteful guitar work and compositional style will be complemented by Mark Boals’ (Yngwie Malmsteen, Royal Hunt) vocals, and grooves by world-class drummer, Todd Sucherman (STYX).

For more information, visit www.AdrianGalysh.com


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ADRIAN GALYSH PERFORMS AT 2013 WINTER NAMM SHOW

LOS ANGELES, Calif. (Jan. 8, 2013) – Melodic instrumental rock guitarist Adrian Galysh will perform at the National Association of Music Merchants (NAMM) trade show at the Seymour Duncan booth, located in Hall B, booth 5561, on Fri., Jan. 25 from 4 – 4:30 p.m. 

In 2012, Galysh was honored by Brian Moore Guitars with his own signature guitar, the Adrian Galysh Signature C90F, which features Seymour Duncan JB and Alnico II humbucker pickups.  

“Seymour Duncan and great tone are synonymous in guitar circles,” said Galysh. “I have Seymour Duncan pick-ups in just about every guitar I own. The company has always been super supportive of my music, and I am pleased to perform for them at this year’s NAMM convention.”

Described as “a virtuoso of modern electric and acoustic guitar techniques” by 20th Century Guitar magazine, Galysh has a successful trajectory spanning three solo albums and numerous collaborations and performances with industry giants like Uli Jon Roth, Yngwie Malmsteen, Carl Verheyen, Mike Keneally, George Lynch, Warren DeMartini, and many more.

Galysh is preparing the release of his fourth solo album Tone Poet, due spring 2013. The album includes 12 tracks featuring rock-fusion, sweeping orchestral works, and world music with a Spanish influence. His tasteful guitar work and compositional style will be complemented by Mark Boals’ (Yngwie Malmsteen, Royal Hunt) vocals, and grooves by world-class drummer, Todd Sucherman (STYX).

For more information, visit  www.adriangalysh.com. 

UPDATE! Footage from the performance:

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Randy Rhoads Made Me a Guitar Player

I knew I wanted to play guitar when I was about 10 years old. In 4th and fifth grade, I started to really get into music. Under my brother's influence (he listened to metal), I soon found bands like Van Halen, Scorpions, Judas Priest, AC/DC, and Quiet Riot. While other kids were playing with Transformers, Cabbage-patch Kids, and GI Joe, I was buying records, tapes, and making cassette recordings of other albums from anyone/anywhere I could. My neighborhood shopping center had a record store, called "The Turntable", where my mom would drop me off, while she shopped for groceries. I would spend a good hour, once a week, flipping through records, and on the occasion I was able to save up 7 or 8 dollars, buy one.

While the hard rock music of the 80s was exciting, and I enjoyed listening to the bands mentioned above, it wasn't until I heard the Ozzy Osbourne album, "Blizzard of Ozz", that I decided that I had to play guitar. I can still picture the black and brown memorex cassette tape that had the recording of the album, dubbed for me by a friend of the family. I couldn't believe my ears when I heard the guitar solos on songs like Crazy Train, Mr. Crowley, and Revelation (Mother Earth). I think I knew then that I had to do this. If hearing someone else play guitar was this exciting, I had to try it for myself.

I begged my folks for a guitar and for lessons... for two years. It wasn't until I was 12 that they decided that I could take guitar lessons, as long as I took real lessons... on a classical acoustic guitar. This was fine by me, because Randy Rhoads, that guitarist that inspired me via "Blizzard Of Ozz", studied classical guitar too. Randy soon became somewhat of a role model for me.

I credit Randy Rhoads as the reason I started to play guitar. Like many other guitarists, I found his playing exciting, passionate, melodic, and inspiring. The more I read about him (he had already died in a plane crash just 3 years before I discovered him in 1985), the more I found his personal outlook, thirst for knowledge, and kind demeanor even more inspiring. I then began to collect all the Randy Rhoads recordings, magazines, guitar books I could get my hands on. He made me want to become a real, legitimate guitar player. A musician. I had this poster on my wall growing up:

This past December 6th would have been Randy's 55th birthday. His sister's family owns the D'Argenzio Wine brand, and have a tasting room in Burbank, CA. I have lived in LA for 12 years... I visited Randy's grave once about 8 years ago, and have hesitated to visit his mother's music school, Musonia, in Burbank, which is still open and doing business. While I am very curious, I have been hesitant to lurk at the school and interfere with their business. However, this past weekend, the family had a Randy Rhoads wine tasting event for his birthday, at their tasting room in town. Being a "wine guy" and Randy Rhoads fan, I had to go.

My wife and I drove out early on a Friday, and arrived at about 5:30. We did a wine tasting flight, including the "Randy Rhoads Cabernet", which was good. The wine room had Ozzy's "Tribute" album on in the background... on vinyl... playing on a record player - very cool. Randy's sister, Kathy was on hand to greet visitors, and we spoke briefly about the Tribute album and the photos therein. Randy's brother in law, Ricci, gave us a tour of the facility, we talked wine for a bit, and then he showed us some Randy Rhoads memorabilia they have there. I asked about Randy's mother, Delores. He says she is 92 years old, and while she is "all there", has a harder time getting around these days.

Memorabilia included a number of photos, Randy's signature polka-dot bow ties, his Gold Record award for Blizzard of Ozz, a pair of shoes, and a few building models he made for his hobby, model trains. A Gibson "Randy Rhoads" Les Paul was also on display... I want one :-)

The photos (above/right) were on display at the wine tasting, and were taken by famed rock photographer Neil Zlozower. I got to know Neil while working at SWR Amp Co. a number of years ago, where we worked on some photo sessions for some product ads. We became quick friends, having very similar taste in music, and I really admire his work and the musical history he has witnessed. The first time I ever visited Neil's photo studio, I was looking around, and saw a bunch of photo slides on top of a light table. Taking a peak at some of the slides, I found one of the poster of Randy Rhoads that used to hang in my bedroom. There it was, the actual photo from which the poster came. I couldn't believe it. I stared at this poster every day as a kid, dreaming of playing guitar professionally, and now Neil takes my photos. Unreal. While I was looking up some of Zlozower's Randy photos online, I found this (both taken by Neil):

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