John Williams Star Wars Music, and Tele Town in Nashville - Q and A Live From the Woodshed

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[00:00:07]All right. Hope we have some good audio here.

[00:00:11]It is Star Wars Star Wars couple of days, right? It's the May the 4th and the uh Revenge of the Fifth.

[00:00:20]We'll see if we got good audio. I hope we do.

[00:02:08]Hey. Hey. Hey.

[00:03:48]almost. Let me try that again.

[00:03:54]Yeah.

[00:04:06]That's it. Had to come back to me.

[00:04:28]Come on, favorites.

[00:04:53]Yeah.

[00:04:55]Some lovely John Williams. Uh Across the Stars and Han and Leia's theme from BZ.

[00:05:11]Really nice. I'm going to turn off the reverb here. Hopefully we got good audio on everything. And uh the reverb is coming at you. It's the Cloud Nimbo Cloud Nimbo Stratus reverb.

[00:05:27]It is. Yesterday was uh May the fourth be with you. Today is uh revenge of the fifth and um I'm playing through the ax 3 right now so I can have the uh lovely huge crazy reverbs going on. uh when it comes to that kind of absurd amount of space and uh artifact character, I think I I would word that as artifact character in those reverbs. I just think those a the big boy super huge ax 3 has all the processing power to make that work and still maintain all these delays that I've got going on too.

[00:06:40]Right. Wow.

[00:07:04]What was the uh I don't remember that melody.

[00:07:11]I don't remember that one that goes to that. I just remember that's the violin part. Maybe the woodwinds.

[00:07:27]Uh yeah, right.

[00:07:38]Uh, something like that.

[00:07:44]Uh, I don't remember the melody.

[00:07:53]Yeah, that's it.

[00:08:06]So, as you can see, my brain is like grinding it out in real time just from memory. And one of the things that I love to do here for those of seeing this and and after the fact, these are all live. And instead of working up and rehearsing a bunch of things and having it prepared like a concert or something on Tuesday, I like to just stream a conscious it. I like to just shoot from the hip and talk about what's going on and It's happening in real time with me recalling that melody from memory.

[00:08:47]You know, it's like you can almost call it back from memory.

[00:08:51]Why? Why is the reason? Why do you ask?

[00:08:55]Because John Williams is the most important musician of the past 100 years.

[00:09:01]That's a statement that I feel confident in saying and I can die on that hill.

[00:09:09]Do I love what Les Paul gave us with multitrack recording or perhaps the Beatles with that library of songs or Eddie Van Halen redefining what it means to be a a guitar player? Um Bill Monroe and bluegrass music. God knows how many country artists and the the the realms of music that reaches into jazz and the the the the things that that genre was an offshoot.

[00:09:43]I still say that John Williams is the most important musician of the past 100 years. Mic volume's a little low. I can bring that up.

[00:09:52]So with with what I'm saying about John Williams being the importance of the past 100 years, kind of just kick that up just a little bit. Just a little bit.

[00:10:03]There you go.

[00:10:06]John Williams to me, the reason I say that is across all all different genres of music and styles, there's hot and cold pockets of fan base and and humanity that whatever music touched or didn't touch. You look at look at Michael Jackson or or or or Taylor Swift and the relevance and the global reach that like they had. Like Michael Jackson has a global reach crossing language barriers and everything in in between.

[00:10:42]John Williams based purely on Star Wars.

[00:10:48]You go anywhere in the world and people know that or or uh uh right. It's it's the fact that his music could reach across the planet, the entire planet, and anybody anywhere recognizes those themes. And then if you add in the other music that he's made throughout his career, whether that be Harry Potter or um Indiana Jones or or Jaws, think about how important he was with just this I mean like it's it's unbelievably how this man could create melodies from his imagination and they define not just pop culture but just the culture of storytelling uh over the past you know he's in his 90s and we're blessed to still have him with us but uh you It's just astounding to me and inspiring.

[00:12:11]And I'd love to know in the comments and and in the live stream, in the live chat right now, what's your favorite John Williams score? What's the one that's just gosh, that's the one, right? I think for me it is the Across the Stars theme.

[00:12:28]That's the one. When I first heard it, I was like, "Holy cow." Um, Duel of the Fates, obviously super important. Uh, you know, Indiana Jones and and all the things he did in between. It's it just it it blows my mind. I actually watched um this the there's a Disney feature on John Williams and the music of of John Williams. And uh it was so good that when I finished dinner, I was making dinner while I was watching it. And as soon as the the movie, it was two hours long. As soon as the movie ended, I just started it right back over. It just gets me on an emotional level that I can't believe that music can touch. And is that due in part to the fact that I'm so tied to the media that it that it attach itself to? Maybe, you know, maybe. But the reality is, would that media have been what it was without that music? And it's, you know, I think that it's evident. I think it's evident in where people have tried to continue his legacy and inserted their narratives and failed. Um, I'm looking at Galaxy's Edge at the the Disney World parks. They obviously have one in Anaheim. They've got one in in Orlando.

[00:13:42]And they launched and he did the music um for the parks and and of course they sourced some stuff, but it wasn't those themes, those super iconic themes. And now we're seeing the retrofit and the um course correction. We're seeing that um throughout how they're bringing back Darth Vader and in you know in Anaheim and all and the original characters and sorry my allergies if I'm sniffing a lot and if my eyes are watering it's just the allergies. It's that time of year here in East Tennessee. But um we're seeing that course correction. you see how people it's like they they think they can improve it. I it's it can't be improved. I mean, it's it's it's as iconic as the um as the the the ships or the lightsaber itself. like you just think of a lightsaber and it's, you know, you can hear the sounds that it makes and um you can hear the themes that go along with the lightsaber and and and you know, the the the Vader armor and all that all that kind of stuff.

[00:14:51]I here's another huge opinion that nobody asked for. Nobody cares what I think, but this is just me shooting from the hip and and hanging and doing what we do on a Tuesday, right? Um my opinion is he is our century. He is to our century and our our generational uh time on earth what Mozart was or Bach 1,000%.

[00:15:23]No, nobody that has made any music, nobody that has made music has had the global impact that the music of John Williams has had.

[00:15:36]And I think that uh I would welcome any debate from anyone out there who thinks I'm absolutely smoking crack. Uh but I I'll stand on I'll stand on my side of the fence as I say it. Now, is there is there a best? You know, I I don't I don't it's not about best. We're not saying who's the best because if you like bluegrass guitar, you're not gonna like John Williams music. There's not a lot of G- Runs in John Williams music.

[00:16:06]However, what I am saying is most important uh biggest global reach most important to the the to humanity. What music has crossed more boundaries of cultures, creeds, religions and races and all the barriers that we as humans build in ourselves. um you know the the the farthest of the left and the farthest of the right both know can recognize the Star Wars theme or the Indiana Jones theme right Harry Potter theme um and it's just most recognizable John Williams is just unbelievably and I would say without a doubt I'm confident saying he's the most recognizable musician and the most important musician um of of the past 100 years may maybe longer right he is he is our Mozart. He is our He is our uh uh you know, Bach Shopan, whatever. Um the guy could just paint, you know, with the Spectrums. Uh before we get started in going any deeper and talking about the Telettown thing, I want to show you some of the John Williams movements that I think are so cool. And obviously, this is very abbreviated version. This is very Andywood, you know, shred neckery u distilling it all down. I, you know, I'm not I'm not I don't have it brought up with MIDI files and every piece of the orchestra uh represented. What I just want to do because it is May May 4th, May 5th, I want to talk about some of these movements and how he uses some things that that are really beautiful that are noniotonic and kind of fools your ear into thinking that they're dietonic, right? Um, let's start with maybe the uh across the stars theme.

[00:18:00]This is all just straight up D minor right here.

[00:18:06]It kind of starts off of this uh this this uh A7 kind of sound. Kind of a power chord.

[00:18:18]All of this is very inside.

[00:18:21]But now listen at that. We were just here. We were just there. And now we're here.

[00:18:29]Very dietonic to the key of F right there. Now back to this secondary dom.

[00:18:38]I love this right here. What's about to happen is kind of a flat 7, you know, and then we go to this five minor.

[00:18:49]And now we're hearing things out of kind of G minor. We were in D minor. Now we're hearing it kind of out of G minor.

[00:19:01]And here comes a new five chord. Whoa.

[00:19:04]That definitely sounds like G minor.

[00:19:05]Right.

[00:19:08]Right.

[00:19:14]But instead of constantly resolving, the cycle keeps moving and twisting forward harmonically. So, let's just review. We start here, right here. And then then still, that sounds like a four chord to me. This sounds like home, right?

[00:19:30]That feels home.

[00:19:33]A minor. Okay.

[00:19:37]That That's kind of like F majory. Yeah, there's the F major sound. All right.

[00:19:45]And now we're starting to get a question mark right here with this A flat kind of sound. Whoa. Well, what what's going to happen now? Maybe a little relative minor of that.

[00:19:58]Now we got G minor. So G minor is starting to sound like home, especially right there. Okay. Now remember, we were in F major. Now we're going to have an F minor chord and we're in C minor now.

[00:20:20]So there's a lot of this secondary dominant uh introduction of a new five chord, new five chord kind of thing that keeps happening which is really beautiful.

[00:20:36]D major. We were in D minor when we started this.

[00:20:47]It's all it all sounds dietonic even though it's not. Right.

[00:20:56]This where it really takes it takes a left kind of.

[00:21:00]That's like a flat seven of F. Right.

[00:21:02]Now let's play the five of F.

[00:21:07]Five of F makes it the four minor of this four minor. Now new five.

[00:21:17]Take the whole thing and move it up a third and play this.

[00:21:23]Now that sounds like we're in C minor.

[00:21:28]And there's the new five.

[00:21:38]Right.

[00:21:48]Oh my gosh.

[00:21:55]Uh listen to that. You see how that makes a like a D flat kind of triad. Now, we're going to make that an F minor because the notes of uh A flat and the note of F with D flat in the bottom.

[00:22:15]But that's that could be F minor.

[00:22:20]Right now it's C minor. So, we've shifted back to this one.

[00:22:30]Right now there's that move again. Right.

[00:22:54]Ah, it's magnificent. It's really magnificent. So, he's got a way of being clever with his key changes. I see somebody in the comments saying it's the it's the motif development, the variations on a theme. He just pulls you in with this this central um hypnotic kind of vibe, which is this.

[00:23:17]Think about that. Think about this for a second, guys. Look at the chords this makes.

[00:23:23]Oh, that's a B flat sharp 11.

[00:23:36]But it's also G minor uh with a lift. Right. G minor.

[00:23:46]We have melodic minor. Right. Right.

[00:23:54]But it's a great way to the look. It's all dietonic to D or F, sorry.

[00:24:13]Right.

[00:24:21]This movement's really powerful to me.

[00:24:24]It's like lifted and then it just falls.

[00:24:27]And it's a simple whole step drop, but instead of just treating that as some offshoot and then we come back on the path, that's the offshoot that goes, "Oh, well, now we're going to go that way." And and harmonically, this information here starts to build out that C minor 7, right?

[00:24:53]94 years old. Yeah. 94 years old.

[00:25:02]Now, this would be an easy place to just return to G minor, but instead deviate off to another path and move it all up a minor third. Right.

[00:25:27]Now we've got G. This is going to move us down here to a C minor.

[00:25:38]Play the whole theme down there. That's the payoff to me is when he has these all of this motion throughout the harmony and this this this uh this motion of the harmonies moving around, but when it comes back time to really give the payoff.

[00:26:04]Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. And um so I see a comment down here at the bottom. Earl is saying, "Chord vocabulary is amazing." Thanks, man. I don't really I'm not really thinking of these things as independent chords, but more just grips within a dietonic place.

[00:26:21]Uh dietonic just meaning in scale in key, right? So like when I see this, I'm seeing everything out of E flat through right here. So now if I play melodies through E flat, it gives me C minor information.

[00:26:49]That's Oh, it's nice.

[00:26:54]Oh, yeah. So, I'm kind of seeing things not necessarily as individual chords that are all glued together, but just a overarching group of notes that sit with each other.

[00:27:13]And then I can mix and match the melodies to these groups of notes.

[00:27:20]That's like my woodwwind section or sorry my cellos would be there and my violins and violas be over here.

[00:27:48]Yeah. position economy. That's another thing that's kind of built from just trying to keep my hands where I'm aware of all the things that are kind of moving in that area and keeping things held down. That really makes things sound lush to me. Um that really to me is the the sustain that people think is maybe an effect or something, but like it's really about Yeah, it's like that.

[00:28:31]Now I built a major two, right? So we go and now I move it back to the top, right?

[00:28:49]I'm not thinking about whatever chord this would be, right? I'm thinking in like guys, this is all D minor notes and it's still just D minor notes playing the bottom of it. And I'm returning to melodies and themes even when I'm improvising.

[00:29:47]Almost a little dream theater right there.

[00:29:56]Mary.

[00:30:22]Maybe use a modulation.

[00:30:27]Yeah.

[00:30:30]And now we're into that theme.

[00:30:34]And I love this theme because it's like this is the Leia theme on Best. And it's it's the the the the root chord of four minor, but instead of being four minor, it's it's actually built around that, isn't it?

[00:30:58]Uh that's where it's at.

[00:31:06]All right. So, let's hear it again.

[00:31:08]So let's play just play the melody. Play melody.

[00:31:28]Uhhuh. Right. Melody again.

[00:31:34]Sounds very inside. Let's play that all of that over a D.

[00:31:46]change what's on the bottom.

[00:31:49]The brilliance comes in right here.

[00:31:55]It's just pulled ever so slightly, isn't it? Like just with that five being augmented fifth, right?

[00:32:03]Augment just means move it up.

[00:32:12]It's beautiful.

[00:32:18]Move that whole thing kind of that framework up.

[00:32:25]All right.

[00:32:26]Yeah. Kind of crunchy there, isn't it?

[00:32:29]That's a a C minor 7.

[00:32:34]Now we're in G flat, F sharp.

[00:32:42]Ah, this movement's great.

[00:32:53]Gives us a C, you know, C sharp E. What? Sharp 11.

[00:33:01]Ah, that's why it makes sense because it's B, right? It's sharp 11, but that's really a four chord, isn't it? Yeah.

[00:33:11]A, it's so slick to put it on the B flat. One more time.

[00:33:17]Uh, let's see how Yeah, somebody says, "Turn the effects off." Turn the effects off. Sorry, Mom. I'm having too much fun. It's still just as beautiful. The music doesn't require the delay.

[00:33:27]I'll probably go a little bit darker.

[00:33:34]Nice though.

[00:33:38]See all that wash is still there holding the notes together.

[00:33:48]Reverbs there, right? Yeah. Totally jazz lounge vibes, right?

[00:34:03]Gets real jazzy, doesn't it?

[00:34:33]Right. Yeah. Yeah. Yeah.

[00:34:41]Yeah. Gets real real jazzy, right?

[00:34:52]Yeah.

[00:35:02]No bends allowed in jazz guitar. Well, that's why I don't play jazz guitar because I'm going to bend them ropes. I like to bend the rope. It is a good time for me. Um, let's just save that setting. That setting's nice.

[00:35:17]Let's rename it. Um, let's name it AW Across the Stars.

[00:35:28]Nice. Save that one. Turn the reverb on again.

[00:35:44]Nice to just have that just lovely thing floating everywhere below.

[00:35:51]Let's um let's talk about Telly Town, right?

[00:35:57]Talk about that Telly Town event that Fender did, right?

[00:36:27]Right. Yeah, it's really really good.

[00:36:29]Um, so obviously a little little bit of the uh Brent Mason flavors there. Telly Town, man. Telly Town was an event that was held at the Ryman. Fender sponsored it and uh it was this week and it was it was just a who's who of Nashville Telecaster slinging. Brent Mason obviously there. Brad Paisley got through trap. A lot of guys that are just the you know the the fender guys really. I mean it's their baby, right?

[00:36:58]Luke Mc Luke McCra was there a lot lot lot of just I mean I I'm forgetting people right so Zack Top you know really really great telly chicken pick it great to see that world get honored a little bit and truthfully I've had a lot of requests for that stuff on Patreon and um on my you know on my stuff people been wanting more of the country thing so it's kind of getting to a nice point where that stuff's being recognized and celebrated and um Zack Child's longtime guitar tech for Brad Paisley. He was hosting it and I think I I don't know if he was um if it was his brainchild or if it was a Fender joint thing or whatever, but it was really cool. Zack, great job on putting all that together. Um Seth Taylor in the house band was playing acoustic, but do not sleep on his electric playing. He is nasty.

[00:37:49]Incredible, incredible guitar player.

[00:37:52]And um it was just, you know, Guthrie and John Oats did a little thing. Um Guthrie as in Guthrie Trap, not Guthrie as in Guth, right? Um but yeah, Brent was there doing the thing. Joe Glazer was on on hand and man, it was just really, really cool. And so I didn't know if anybody had a chance to see any of the footage from that. Really great picking all the way around. And maybe we uh maybe we look at this. We look at some things that will make make your telly playing sound even better. And this this solo that I played was uh it's uh really iconic Brooks and Don song. Some of Brent's greatest work. Let's just take a second and let me show you a couple of things that happen in this that that's really kind of nice.

[00:38:39]um not that um in in this solo the intro to the song is very similar to the intro to the solo.

[00:38:52]Uh that's kind of how it starts off and then you have the the pedal still right. So, let's talk about the solo, though, because the solo has some cool stuff in it.

[00:39:25]This is uh people ask me, "How do you get started in country playing? How you improve your hybrid playing?" It's really just taking the things that you already know and putting the hybrid to it.

[00:39:42]Right. So, let's take this intro.

[00:39:46]You know, I'm kind of popping that D to get that sound.

[00:39:51]And and obviously in country music, you have ambiguous third. So, you're getting a lot of major, minor, both both thirds, you know, stuff like that.

[00:40:19]So in this solo, we have the top of it starting on the five chord.

[00:40:32]So jokes aside, the hybrid stuff, it kind of uses uh all the intervals, thirds, fourth. Yeah. I mean, you're using everything. So, let's take the the front of this is a very classic.

[00:40:43]Very classic guitar melody.

[00:40:53]Now, I think Brent plays it like this because you kind of hear that pop on the top string and it sets you up for that right there.

[00:41:05]Right.

[00:41:14]Okay, now we go.

[00:41:22]Uh uh.

[00:41:26]Yeah. So, this this walk up is a great framework for how to solo over a stagnant chord. what I it's a chord that's not moving around, just something that's kind of vamping. Um, this this moves uh kind of one flat 7, one flat 7 information a lot of G information, right? Uh going backwards, going forwards. In a lot of country music, you're gonna have a really strong outline of the flat 7, even when you're playing over the root.

[00:42:07]That sound, right?

[00:42:17]That kind of sound, right? Look, that's like a flat 7 sharp 11.

[00:42:26]But I don't really think of it that way.

[00:42:28]It's kind of what's happening, right?

[00:42:31]But I'm looking at it just as information from G.

[00:42:44]See like that.

[00:42:52]It is mixelyian. Hang on. But but but look look look you got to remember the third is still both. That's the thing is it's not just straight mixo.

[00:43:05]It's this Right.

[00:43:31]Uh uh all of it's basically like every every uh every note.

[00:43:41]It's all of them, right? Uh minor second crunchy, right?

[00:43:51]It's basically like everything. It's just in how you lay it out. This is Steve Morsism too, right? If you put the overdrive on this kind of sound, you would have um very Morseesque, right?

[00:44:16]Uh, very very Steve Stevevesque. It's chromatics with sensibility. Chromatics with sensibility. Yeah, I like that. I always call it the ambiguous third, right?

[00:44:46]Yeah, there it is. Okay, let's do that lick from the um Brooks and Dun tune.

[00:44:57]So, you're getting a lot of these open strings ringing out, which is very quintessential Brent. And I'll I'll show you how Brad uses some of it, too. So, this is like classic triad stacking.

[00:45:18]And then the little triplets at the end to bring it home is really nice. So yeah, and and and don't quote me, but I think he goes like that like that.

[00:45:37]And then at the very end over the five chord, you get the classic like sassy Roy Nichols. Maybe not Roy Nichols, maybe Ray Flack thing.

[00:45:50]Those open strings definitely give the 20. Let me give you an example how Brad uses open strings.

[00:45:58]Like a Brad Paisley vibe, like maybe the Mr. Policeman song.

[00:46:10]It's like very much whatever string you're leaving with the pull off, drop down to the next string.

[00:46:26]It's got that really chaotic thing that Brad has in his playing. Uh really reckless kind of sound. Um like the head of nervous breakdown. I think he played this one at Telly Town.

[00:46:41]Yeah.

[00:46:43]Yeah. I think you know it's a reckless abandon his approach whereas Brent has a little more refinement to it. Um like maybe take the Uh, one more time.

[00:47:11]Uh, I don't remember. like I don't remember how he tags it, but it's that kind of thing where it's the uh the open strings have a more refined calculated approach like the head of hotwired that thing.

[00:47:31]I've seen a lot of flat pick guys do it like but Brent does it like that kind of thing.

[00:47:43]Yeah, Brent doing the Bbop stuff like maybe the line that's uh I don't remember how it gets out of that one. I think it's like that maybe.

[00:47:58]Uh I don't remember how he gets out the rest of the solo though.

[00:48:19]Yeah, I just kind of make up my own thing right there. But yeah, um Brad was the reason I listened to Modern Pop Country. Got the Hotwired album Transcription Book a few months ago.

[00:48:28]Think it's time to start working on it.

[00:48:30]Yeah, get it out, man. It's really great stuff in that um in all of the Hotwired songs. Really, really great. Uh but yeah, the Teletone thing, Teley Town thing that Fender put on was really great. Bravo Fender, if you see this, I love it. I think you guys did a great job and fe and bringing a lot of love to the Telecaster and birthday all kind of stuff. Um, you know, really, really good love of the Teleer. What is it 70 something years? 75 years. Is it 70 or 75? 75, right? Um, of the telly. Really amazing stuff. I I am a you know a disciple of the telecaster even though I'm playing a sir and it's telly it's tellyesque and I I still kind of get there. Can you talk about pick it apart a little bit? Yeah, sure. Um that was very much a uh uh Mount Rushmore for me.

[00:49:23]Learn not Mount Mount Everest. Yeah, not Mount Rushmore. What? It's Mount Rushmore as well, right? It's one of the souls on Mount Rushmore.

[00:49:58]Right. Um, so in this tune, this really couple of things are really difficult.

[00:50:03]Basically, this whole song is difficult because of the tempo, but there's a moment that you're going to hear in the um at the front of the solo.

[00:50:12]I don't remember if he does it.

[00:50:16]I don't know if he does like that, but uh then the this this section I don't remember if that's the exact lick on the bottom, but you this next thing is really complicated.

[00:50:41]This way travels from B flat to C. uh outlining those two triads.

[00:51:01]This looks really nasty, too. Way it kind of walks down chromatically.

[00:51:12]Definitely. You hear him kind of like move around a B minor.

[00:51:21]It's just crazy, man. It's like a But but a lot of you flatpick guys um probably have a hard time playing it because you're trying to pick every note like this.

[00:51:34]Let me show you a little hack to playing those arpeggios in the right hand. So like I'm playing down, up, down, up, up, middle, down.

[00:51:42]Yeah. Down, up, down, middle, down, down, up, down, up, down, middle, down, up, middle, down, down, up, down, middle, down, up, down, down.

[00:52:02]That helped me play it at speed.

[00:52:12]That's how that's the way you got to get through it because it goes by. It's cooking. It's really cooking fast. It's like that fast.

[00:52:20]Right now, I flat picked the whole descending line.

[00:52:30]And there's another great line at the end of it. That's around a B minor chord that you know, so there's so much in that solo. Um, I think really iconic Brent isms are the repeating double stop notes.

[00:52:50]Those kind of mo moments. Let's slow that down right there.

[00:52:58]And then move it up to C.

[00:53:06]you know, it's like really open stringy on the way down. And he uses that same thing again. Um I I can't remember uh how the whole thing goes just from memory. Uh I think there's something like Yeah. So you have the C to C there. That That looks really awesome, too. So, you have some double stops that once you make it to the key of A, that thing. So, you're playing a one to a flat 7 in the key of A and then phrase blues.

[00:53:58]This is a really classic um Brentism is you get that blues phrase and you get the five flat 5 4, you know, really great lines to be had.

[00:54:24]There's so much meat in there. And there's a video of me playing it online.

[00:54:28]All you got to do is Andy would pick it apart and uh yeah, it's camera audio where it's not been edited or anything.

[00:54:36]It's just recorded on my cell phone. So, it's pretty nice to be able to really hear what's going on with everything.

[00:54:43]Um, incredibly fast tempo though. God almighty, it's a fast tempo. So, pick it apart if you've never heard it. Uh, it's the guitar solo that changed my life and really put put Brent in in a league of holy cow, what is this? Everybody been playing all kinds of really great stuff on all kinds of records for a long time.

[00:55:01]Cemented the session player legacy, but that pick it apart solo was just another level. Just a really another level of great, you know, of greatness. So, yeah. Yeah. Yeah. It was Will Barton. I think uh for those that don't know Will Barton, he's got a vacation home out there in Telly Town. So, uh yeah, really good.

[00:55:24]Um do I have a BB bender? Yes, I do. Uh my very first really serious player pro guitar was a Bender telly and it's got a checkerboard pick. It's not a bar I do have a baritone, but uh I have a baritone telly and then I have a Bender.

[00:55:40]Right. Yeah. So, I have two different guitars that I have. Okay, time for some questions here. Chat is rolling. Let's hit it. Let's hit the questions.

[00:55:51]Um, observing the process talking about the John Williams stuff. Yeah, really great. The Jaws score was epic. The first time music affects how the viewer was feeling. You heard you heard it and you felt the hair on your stand hair on your neck stand up. It's really really great. The haunted Leia theme. Yes.

[00:56:08]Yeah. Yeah. It's really great. kids. You have kids that sing the theme but don't watch the movie. That's how um it's how important John Williams music is. Yeah, it's really really great.

[00:56:20]Somebody's practicing some cross picking. You can work on those Brent lines as crosspic lines. Really valuable stuff, right?

[00:56:32]Are we talking about Nofler? Um no. I do love Nofler though. We're just not talking about him. Maybe that's a guy for another day.

[00:56:43]Um, rolling down, rolling down. Here we go.

[00:56:48]Uh, lot of people just talking about how much they like the Star Wars music, right?

[00:56:56]Somebody says, "I like the little small amount of amp breakup. It's just clean, but barely not." Um, Andy, come to Ohio.

[00:57:04]Uh if you'll just jump on andywoodmusic.com, you will see the uh the tour dates for the clinic tour that's coming up. And I can't remember what all we got. I know I'm playing Sweetwater in Fort Wayne and a couple of different other ones. It's going to be a good time. And I'm going to put out all that stuff on my social media this week so you guys be able to see it.

[00:57:28]Yeah. Here we go. Talking about the country stuff. Double stops are mandatory in the country stuff. And if you don't know how to get your double stops, you just kind of find your root.

[00:57:37]Say you're playing a G. Here's a root.

[00:57:41]You could have the third on the bottom.

[00:57:48]Yeah.

[00:57:51]You know, very pedal steel kind of line.

[00:57:54]You could have a double stop that's around the five.

[00:58:10]Yeah, that kind of thing. One more time.

[00:58:11]Let get that clean. That's not bad.

[00:58:20]Be a nice kind of double stop around the five down here too.

[00:58:32]double stops there.

[00:58:41]Uh double stops where you are in a key but you're not playing the root of the key.

[00:58:51]That's all around the key of G.

[00:59:00]you know, walking up to the four chord kind of thing. Uh, but yeah, you you know, guys, it's all just experimentation. Listen to the music is the most important thing you can ever do is listen to the music. Uh, work on the solos that are in the music. See how they work together. Working on those pedal steel parts, you know, that's a big thing is getting those pedal steel bands.

[00:59:25]Uh, I overshot that bend.

[00:59:32]Ah, yeah. So, let's roll down, get some questions.

[00:59:38]Bren has asked here. Absolutely. Yeah.

[00:59:40]Yeah. Yeah. He for sure is.

[00:59:43]What do you think the biggest part, this is a question, uh, come from Casey. What do you think the biggest part of getting quote unquote that country tone is on a telly? pickups. Some swear it's those old brass bar bridges. I don't think so.

[00:59:54]I mean, I you know, Brent uses a six saddle, so it's like he sounds the most telly out of anybody I've ever heard in my life. So, I you know, it's a combination of a blackface style amp, just a small amount of compression and some slapback. And it's really in how you play and how you phrase that means more than anything. Now, there's some small tidbits if you want that ' 90s Brent kind of sound. Um, you're gonna scoop a little bit out around, let's say 4K, you know, scoop a little bit of that 4K out. Oh, sorry, sorry. Scoop a little bit of 1K out and add some 4K, chopping it off around seven. Um, that that's a nice, you know, post EQ trick that makes it sound like those 90s records. That's kind of like what I'm using right now.

[01:00:52]Will Will's got a you know, you guys need to follow Will Barton. He's got a great sound, too. Um really, really great player.

[01:01:01]Uh JS is saying, "Have you you ever used the Woodbuckers without the covers?" No, I just like the way the covers look and sound, so I've never really messed with it.

[01:01:11]Uh yeah, Chuck just put up the tour dates right there on the andywoodmusic.com.

[01:01:16]That's been the um the uh uh what am I trying to say? Headquarters hub, main hub, andywoodywoodywoodywoodywoodywoodywoodywoodywoodywoodywood.com.

[01:01:27]Uh that'll get you the tour dates and all the merch, the tones that we're going to be uploading, which I'm really excited about. I got so many for all kinds of different stuff. Once the Fractal packs are all uploaded and and out the door, I'll move on to the quad cortex. Do it next. Um, Chuck Keller says full Andywoods defense schedule.

[01:01:45]Right there it is. Scruffy City Hall is where Skankbanger plays. Yeah, play there a lot. Buy Chuck a Lambo. Listen, the goal is to buy Chuck Lambo. Now, he's not as big a car guy as I am. And there's some hot stuff in the car world right now, but in Knoxville, we had the Porsche Plata event. Um, I'm not a Porsche owner, but I do think they make a fantastic car. And that Plata event that Shannon Harper and and the Harper team put on, it's really spectacular. If you're a fan of Porsche, look it up online. Porsche Plata. Um people saying, "Is there is there a car reveal yet?"

[01:02:18]I've revealed that it is an Italian. I have lost the domestic Z06 um Corvette and I've gone Italian. So, very big milestone for myself. Um but yeah, excited about that. And uh you know the skankbanger money goes to funding uh you know my sports car habit.

[01:02:41]I'd keep them all if I could but man you can't afford to do that. One car payment at a time guys. That's that's the that's the thing. Kevon and Marty Stewart's old school approach of guitar directed to a fender amp. No pedals will keep you honest. Love those guys. Yeah. Now now here's the deal. Those amps are loud. So they've got compression from the amp and they're using the reverb on the amp. So, it's not as like a it's not like going direct into the board, you know what I mean? There is some artifact and some stuff that's happening to make it nice.

[01:03:13]Your friend bought Steve Jobs's first Porsche. Wow, that's cool. I guess it has to be an old air cooled, right? An old aircooled classic situation.

[01:03:23]Um, yeah. But, um, quick quick side note, this is it. I'm gonna I'm gonna wrap it up with this. Uh there are rumors that the reason that Ford and Mustang have uh not used on this new one, this new $130,000 car, this dark horse, if you notice, there's no G GT Shelby. There's no Shelby logo.

[01:03:47]And the rumor is it's $800 per car in a royalty that goes back to Shelby. Now, that turns into 20 $30 million. You know, you sell 14,000 uh Shelby Mustangs. However, Hot Take coming at you. A Woods Hot Takes. Hot automobile takes. Badges matter.

[01:04:08]Badges matter. If you buy the new Darkhorse, it just has the Mustang all over it. Says the GT. It says Darkhorse.

[01:04:16]Maybe it's got a Darkhorse logo. It's monster. It's got a a billion horsepower like everything does these days. And it's got a track focused edition, carbon fiber everywhere. But the average person looks at it and sees the Cobra emblem that they've seen for decades synonymous with Shelby and Carol Shelby and the brand power that Shelby has, especially in the post Ferrari Ford versus Ferrari movie realm. That put a lot of love on Shelby, you know, gone in 60 seconds.

[01:04:49]Pop culture. Shelby is pop culture, right? Carol Shelby is pop culture. And I do not think that Ford will sell the amount of Darkhorse Mustangs that they will without the Shelby partnership. And that's my hot take. I think badges matter. I think if you're going to sell that addition of a car, it's you're not going to be able to do it with just Darkhorse. It has to have the Shelby.

[01:05:13]And I think $800 I mean your delivery fees on a new car, guys, it it costs more than that. Delivery fees is more than 800 bucks. Now granted, everything's getting expensive and it's, you know, blown out of proportion, but if you want to sell these cars, badges matter. Um, willful thinker says I don't even have 0.4 million. That's right.

[01:05:34]I love that. Save 20 million has lost much more. So, here's the deal. My my guitar tech John Cooper, he's got a great sentence. You can own anything for 30 days. You can own anything in the world for 30 days.

[01:05:47]Uh, never Zack Down. Great screen name.

[01:05:50]He says, "What's your st what's your stranded on a desert island rig?

[01:05:53]Everything works. You just cannot leave." Um, do you get me do I what? Everything works and I don't have to worry about um Desert Island rig, Ax 3, good studio monitors, Apollo computer, if it's if if modelers don't count, if modeling technology does not count, I would say assur SL68.

[01:06:30]Um, the two notes that puts it into stereo with two cabinets, a VP4, woodshed compressor, gearbox, oh, you know, a AT plus mod, Muse driver type of thing.

[01:06:51]There you go. You know, I think that's that'd be that'd be pretty good. I could kind of get everything I wanted with that w pedal, you know.

[01:07:02]Yeah, that's But, you know, again, if you once you get into like desert island stuff, it's like, man, give me a modeler. I I can have everything I want.

[01:07:11]Give me some good good studio monitors and I can rock. Um, yeah.

[01:07:18]Okay, that said, somebody's saying the uh the rumors about the no Shelby rumor is true. I hate to see it. I know I'm yelling into the void. I'm not one to tweet a bunch of negative stuff very often, but I did tweet at Ford badges matter. They matter. You're going to charge $100,000 for a Mustang. $130,000.

[01:07:42]You got to put the Shelby badge on. It has to has to have the Shelby badge.

[01:07:46]It's It matters. Like, it freaking matters. Yeah, you you know, Mustangs are cars that I equate to when when I was in high school, the cool kids, the jocks or whatever. They had a lot of money. They had, you know, Mustangs. You know, a lot of ladies like to get a V6 Mustang and a convertible because they don't care about all the track focused stuff. Um, plenty of ladies do. I know some girls that will drive on a track and and rip it up. But we're just talking in generalizations here.

[01:08:18]And in generalizations, if a good old boy that is having his midlife crisis or his retirement gift to himself is going in and dropping that kind of coin, they want to see GT500 logos. They want to see Shelby logos.

[01:08:32]They want to see Carol Shelby written all over it. That's that's that's a fact.

[01:08:38]And I tell you, I' I'd love to have a 1967 or a 68 uh Shelby GT500 resto mod.

[01:08:45]Doesn't have to be all original. Prefer it not to be. they're worth too much.

[01:08:48]Uh, but something that looks like Eleanor, I'd love to have that. That'd be a That'd be definitely one on the on the bucket list that I got to get one of these days. Save up my my mailbox money and and and uh uh, you know, try to try to save some pennies, do my paper routes, and get one of those one day. I'd love to. Um, yeah. Braxel says, "I was born in ' 67. Great year for the automobile.

[01:09:15]tell you that much. Fantastic year for the automobile.

[01:09:20]Um, that said, kids, thanks for hanging out. Happy Star Wars day. U, I'm so excited about the rumors and the things I'm seeing out of the Disney camp getting, you know, just kind of tucking the sequels over to the side with the Kylo Ren and Ray stuff. It just didn't it didn't land. You can see it in the uh ratings. Uh, you know, it's kind of universally known that nobody really wants those movies. So Disney's refocusing their efforts on the stuff that everybody wants. Prequels, original trilogy, Anakin. Anakin, like it's about Darth Vader and Anakin's Journey. So, um, excit. Hey, I'm going to go see the Mandalorian movie. Might as well. But none of it would have the impact if it wasn't for John Williams. That's just my opinion. Nobody has to agree with me, you know. I respect anybody that doesn't, but that's my debate. I think John is the GOAT. Uh, by the way, one of the really coolest things that came out last year was my buddy Jason Richardson doing the um Hedwick's theme on guitar.

[01:10:19]He was wearing the robes from Harry Potter. Filmed in a castle. It's killer.

[01:10:23]You got to check it out. Um, you got to check out all that stuff. But yeah, happy Star Wars Day, Revenge of the Fifth. It's also Cinco de Mayo. So, let's all go get some tacos and margaritas tonight and uh have ourselves a big time. If you're wanting lessons, I have them by the hundreds. We might be into the thousand at this point. That's at patreon.comandandywoodusic.

[01:10:48]Even if you just enjoy the live streams and the Instagram clips and all the stuff that I put out for free, that cost you 0 paper. If you feel like it and you want to buy me a margarita tonight, go to Patreon and throw $5 in the old beer bucket and uh I'll have a margarita in your honor. That's patreon.comandandywood music taco Tuesday. I'm going to celebrate it. So, that's what's happening. And if you want to come to the circlinics and any shows that we're going to do uh all year long, those are going to be listed at andywoodmusic.com as well as the store where you can get the hoodies and the hats and the tone packs and the backing tracks to the songs and all that good stuff. That's over atwoodmusic.com.

[01:11:35]There it is. We will see you Patreon members tomorrow for the live master class. I hope everyone has a wonderful holiday today and uh happy Cinco de Mayo, happy revenge of the fifth. Catch you next time.