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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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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Take Your Guitar Solos to the Next Level in Just Three Free Lessons

Hello!

I wanted to share with you some of the concepts and ideas that I include in my regular practice routine. These video lessons will walk you through some sequential ideas, string skipping, and even a scale that might change your life.

When I am practicing scales, arpeggios, chord shapes, etc., I like to practice them in a musical context. I usually pick a key or two, and work through the scales' positions in that key, or for arpeggios and chords, I'll play through that key's chords (Major, minor, minor, Major, Major (dom), minor, diminished). To make the experience even more musical, I might practice these things over some backing tracks, allowing me to hear them in context with actual music.

This first video walks you through a bit of my Pentatonic scale workout:



This next video lesson, takes a similar approach, but to the diatonic (major/minor) 3-note-per-string scale positions:



This last video is a bit of a Youtube hit, with over 158,000 views, and is sure to make your solos more interesting:



Good luck and keep practicing!
-Adrian

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