+K Fed I'd buy two!

A drink...

@broomsterm That's a bit bitchy and unkind...

no thought,,he would be my best mate and we would play in the same band,,of cause

@broomsterm can you buy better character?

+Gery Sasko tosser

+Egregious And slippery.

Thing.

Less fro, more flow...

Yes. You nailed it!

I think everybody has subconsciously given him that title.

Arh, I don't know... :)

You should try!, it isn't that hard

I play bass. I just come here to hear him talk.

Paul Gilbert as well

Yeah, that‘s what I tell all beginners: you‘ll need some basics first, so once you got Guthrie‘s bending master class down, come back and I‘ll show you how to play SOTW.

„That one“ was criminal

Exactly true

Funny cuz its true.

He even looks like a wizard.

Release times! ..they are ..Oh,

drawingmaster that's because you probably just never played :)

+Lucas Baladi -- I'm inclined to agree, but maybe for slightly different reasons. To my ear, 'not knowing how' to tap is best exemplified by players who think that any interval sounds cool if it's tapped. No so. Some intervals sound horrible. As the overexposed Heavy Metal guitar solo equivalent of 'Hotel California' or 'Stairway To Heaven', Eddie's 'Eruption' stands the test of time against any critic's attack for the reason of Eddie's use of very pleasant and melodic intervals. I heard Van Halen's debut album, got it for Christmas -- on vinyl, so this is an original Throwback Thursday event ; ] -- and cranked it from my bedroom at the other end of the house so that my friend could hear, over a corded phone, what we had been marveling at with its much-anticipated plays on the radio. If I haven't heard it in a while 'Eruption' still has that magical effect, a 'holy crap' 38 years later. It's the melody and the tapping combined.

But that's exactly the point i was refering. The problem with (us) guitarists is that we tend to think about technique, before music, and that's wrong. That's the reason why guitar has become such a (ridiculous) competition. BTW i'm not saying it happens only with guitarists. It happens a lot with Saxophone players as well. A LOT!!!

***** -- I just got to the end of this, and I've come back with the warning that it's a bit lengthy. ; ] Again, I essentially agree with you. My 'first love' was drumming. It still is, but I like to dabble, which interestingly reinforces your opinion. My endless sense of musical curiosity and fascination with sound is rooted in fundamentals. I'll hear 'music' in ambient sounds. I'll chew gum in rhythmic accompaniment to my walk. I've been without a car stereo for at least nine years. I drive around with a wind chime inside my car. Ha! I think I first saw that done with the girl who's my 'Muse'. ; ] I was enamored with the sound of my Dad playing the old Hammond when I was very young. Like many musicians, he was 'gifted' and never had a lesson. I rather followed in his footsteps with regard to formal training, my innate interest in the magic of music being what drove me. Overwhelming displays of technique which are built upon the foundational elements of music are fine, in context, but beauty in simplicity represents an equal and perhaps even greater artistic achievement. While technical mastery inarguably has a place and a purpose, the essence of a good composition -- no, a good performance -- is its ability to evoke emotional responses in listeners. Consummate technique can have or enhance this effect, but it can just as easily have the opposite influence. Most drum solos are rather non-musical, oddly enough. As a result they typically bore me, as do extended 'noodling' guitar solos. To the 'layperson' these can provide for moments of sheer amazement, as witnessed in any KZfaq example of them. However, once you have an understanding of Oz's workings from behind the curtain, as I've said in metaphor many times, the thrill can diminish. This is especially likely if a player is a rote technician. As you say, sax players who overly embellish can also do a disservice to the music they play. That's a shame with such an expressively capable instrument. Honestly, ANY instrument is brimming with the potential to be used with great expressiveness, and any 'overplaying' can be a detriment. Therein lies the distinction between mere players, however skilled, and true artists. Because of its kinetic disarray, for lack of a better term, Hard Bop sucks ass as far as I'm concerned. I'll stand by that opinion forever, although I'm just using that genre as an example of sonic overkill. Push a piano from the roof of a ten-story building and call the crash 'music'. You'd be right as well as wrong. ; ] Ultimately, beauty in the musical realm is in the ears of the beholder. Three-chord Rock isn't immune to criticism for its own reasons, either, but I'll close my rambling with a trip back to your original point. Technique is a tool. The content of a musical message is meant to convey a feeling, and delivering it as such should be the focus of playing any instrument in the first place. Teenage boys have formed garage bands since the 1950s so as to impress girls. Simple message, simple focus. Let's also be mindful that the element of showmanship, especially in Rock, can override both skill and song. From the musical equivalents of engineering-grade building blocks as well as Tinkertoys and LEGOs have arisen some enduring monuments to musical expression. Among them have been works steeped in performance technique as well as those born of far more rudimentary playing abilities. As I often quote, Duke Ellington purportedly said "If it sounds good, it is good". Sorry to be so verbose, but I'm sure you see that in essence I agree. Musicians can lend credence to the catchphrase that if you give a hammer to a two-year-old, suddenly everything needs to be hammered. Learning everything about playing the guitar, as the object instrument here, is a tremendous asset in terms of facility and execution. However, technique somewhat ineffably and poetically loses its sense of importance when it routinely BECOMES everything about playing the guitar. A technically accomplished musician with an emotive sense of style is the best type of player to be heard, in my opinion. Something interesting to say, with a fine way of saying it, makes for a great listening experience, and that is defined differently for everyone. ; ] While beige will never have the same impact as red, a dress doesn't have to be red if an attractive and interesting woman is wearing it. Sorry for that metaphor. Ha! I guess I could have spared some time for anyone who cared enough to read this far by simply saying that musical technique should always be the servant, whereas the ethereal artistic component of music's genesis should forever remain the master. Otherwise what have you, aside from tools and templates that virtually anyone can learn to use to greater or lesser effect? A dictionary catalogs individual words as seeds: it doesn't contain full-bloom poems. ; ]

Govan criticises tapping but uses it extensively in his playing.

Adrian Reyes overdrive

String mutting.

^what he said Very helpful with sweeps fingering taping etc

Thanks

What am I missing?

He's got Bruce Lee DNA in his fingers.

David French.He is a fan of Bruce’s one inch punch which he applies to hammer ons from nowhere.Serious,I read that in one of his books

well it's a 50 minutes series... probably filmed in one day... you can get 50 minutes of filming done in one day you know.

Wtf? Are you nuts? Dumb question.

Don't worry they are just living in an illusion because it's the first guitarist they ever saw.

Yes, but Van Halen kind of popularized it and it has become more of a metal thing although many players in other genres use it too. It's just more rare to see it in other genres and Guthrie says that he doesn't like the stigma it has gotten himself.