Shut Up Already

You, no me, I need to learn all the notes before ghosting them. So its too many notes in the learning phase. Playing sweet is abstracting from the possibilities on the melody side; on the rhythm side, I need to be able to play at least twice as much as I'm playing. This way you imply the double time. That is feel. That is what it is. You imply polyrhythms. Think about it; T-Bone Walker, SRV, the best rhythm players, that's what they do. For me to get it down solid, I need to play them *all* first. Then we back off and we're Albert King.

Get Out Of My Yard

While undoubtedly a shredder's shredder, I think I've found the difference. Its in the writing. Paul Gilbert writes riffs. Monster killer clever riffs. But they pile up. Riff, then riff, and another riff. Satch writes like a jazz guy. Melodies within a harmonic universe that doesn't have to be played, but its there. Brings depth and discovery to the guitar playing. He's choosing what to play; it could have been any number of things, but this is what came out. The sound of surprise as Balliet says. Gilbert sounds inevitable. Impressive and fun; just not as, what, musical? That's not it. Not as sophisticated? Something like that.