1) Into The Light This
was the first song I recorded after releasing EUREKA!! I 've
always been fascinated how complex sounding melodies can be created using devices such as
counterpoint; the Bach fugues are my favorite example of layered
melodies. ITL attempts to demonstrate this musical strategy by using only a couple overlayed
guitar tracks that I played on my Tachamine acoustic-electric. The
theme represents coming out a dark period in one's life, and 'seeing
the light'; a redemption or discovery of truth.
2) March of the Sasquatch
Sasquatch is my tribute to Bigfoot, a subject
I've long been interested in, to the point that I wrote a book on the
subject while living in Northern California (Bigfoot Slept Here).
The theme is meant to express the feeling of a hike or expedition into
the depths of an ancient forest, reflecting a mystery and
intrigue, mixed with a bit of apprehension. The crazy wah solo that
closes the piece represents a sudden terrifying encounter with the monster of
the forest. I recorded the melody of this song in one take, with no
prior composing or planning; it was all completely improvised. I simply came up
with a funky sounding guitar rhythm, then improvised on top of it. I
use my favorite guitar effect, Slow Gear, a volume swell effect, for the
main melody. Sasquatch is meant to express the main theme of this album.
3) Alien Moon Another
song expressing a mysterious mood, this time a tribute to old sci-fi
films, the idea of landing on an alien world, where the moon in the sky is no longer the
familiar one. I used the Axon extensively in this song, including the
drum track; everything was played on my Brian Moore guitar.
4) Stan's Blues My
version of the blues. I wanted to record a stand-alone guitat piece,
the way blues greats such as Stevie Ray and Roy Buchanan have done in the past, but modernize it
and give it a progressive sound. This song uses a lot of Travis picking
technique and octave playing.
5) Tioga Heaven The
title refers to my address in Colorado. This was my first Axon piece,
so I wanted to play tribute to techno greats like Paul Overson. Once again,
mosteverything is played on guitar, including half of the
6) Hammeron This
is my tip of the hat to the great fusion guitarists, Al Di Meola in
particular. I wanted to recreate the exotic sound made famous in the album Elegant Gipsy. The
main melody is introduced, then repeate with fourths and fifths to
harmonize. The intro is a two-handed arpeggio that is one trademark of my technique,
something I first learned from two-handed greats Stanley
Jordan and Tony MacAlpine. The closing solo uses pick slides the way Mathias Jabs did
playing with the Scorpions.
7) Fickle Hill This
is a re-record of a song I first recorded while living in a small
cottage in the woods on Fickle Hill, in Northern California. I use a pedal tone technique as the basis for
the melody. The intro solo uses sliding taps, something I've adapted
from the styles of Steve Vai and Vito Bratta (of White Lion fame). I wanted to
creat an epic feel, to express the emotion of stepping out of my cabin
on a dark night, and seeing the entire Milky Way spread out before my
8) Silver Cascade I
recorded this piece after ice-climbing up a frozen waterfall. It was my
first time ice-climbing, and I wanted to express how cool it is being out on an icy
waterfall, this one named Silver Cascade. The tones express the flowing
water and refractive sunlight playing on the ice. The rythm is played with a number
of overlayed complex chords, using wide stretches and open strings for
some really cool suspended voices. The melody uses my Ibanez Jem and the
Slow Gear effect.
9) Fun Wah Frenzy The
title pretty much says it. I was inspired by Hendrix and John Petrucci
(my old teacher!) for the solo. I use a synthesized piano sound on my Axon guitar synth for
the first half, run through some rockabilly guitar compression effects.
The background rythm is a multi-fingered tap.
10) Suspended Some
have told me it sounds like Robert Fripp, but I was probably more
influenced by the Maravishnu project and John Mclaughlin for this one. The harmony/rhythm uses
my favorite chord, really technically not "suspended" but an eleven
chord that I use on several pieces on this cd. It's a chord I first
learned from an early Joe Satriani tune that I heard on a vinyl disc
that was included inside an issue of Guitar Player Magazine.
11) Pikes Peak/Pueblo
Days My tribute to life in southeastern Colorado. I
wanted to have at least one unabashed self-indulging guitar solo on this cd; hence the intro
which constitutes Pikes Peak. I use a variety of techniques in the
solo, starting with harmonized two-handed arpeggios, shifting to double octave
taps, then some really complex two-handed stuff, and finally reverting
to good-ol-fashioned shred speed-picking. Pueblo Days borrows the
psychedelic backwards guitar for the harmony, but the melody
transitions to a pseudo-steel drums played with the Axon, my tributeto the late
east-African guitarist Ochieng Kabasellah, with a little of the Doors
12) Septoplasty This
was the final tune I recorded for the Bigfoot cd. I wrote it while
recovering from surgery on my nose (a septoplasty). I had gone several day without
any sleep, and was pretty uncomfortable. So, the song represents the
feeling of drifting in and out of lucidity. It's a narcotic influenced decent
into the boundary between life and death, sickness and health. As such,
their is pain and despair, but also hope and recovery. Much of the guitar was played
with a low open C tuning, with lots of harmonics!
I literally dreamed this song. I kept hearing
the simple repetitive melody in my dream, so when I woke I immediately
grabbed my guitar and made sure I had the notes down. I confess, it's a really simple
melody beaten to death, but hey, I dreamed it, and one can't just ignore
one's dreams, can one?
14) Sonic Acid
Once again, title says it all. I've always loved
psychedelic guitar, especially influenced by Tim Wray, a great
but unrecognized guitarist who fronts the band Fat Paw.
This tune uses all sort of psychedelic guitar techniques, including
backwards-guitar, and a variety of panned sounds.
15) Heartbreak I
had to have one pure-emotion guitar piece on this cd. I really love
from-the-gut guitar, like Steve Vai's For the love of God, or
Roy Buchanan's Messiah. This
dragged-out solo probably owes more to Neil Young's Like a Hurricane.
The whole solo is one take, one theme, all meant to
express the emotions of an unrequitted love. The background arpeggios
are a simple two chord progression using one of my favorite chords, a
was all about solo, Disturbed is all in the accompaniment
and rythm. Another one-take idea, where I simply tuned my
Tachamine to a crazy open tuning (my favorite eleven chord), then just
beat away on the frets, fretboard, body, and strings all while letting things
feedback. The opening and closing licks are solo phrase that I play
while in the open tuning. This is a great technique to use when you
wan't to 'play outside the box'. Needless to say, the basic theme is a
descent into semi-insanity. Hope you enjoyed-Stan Rose