TRASCRIZIONE

AC/DC, JAM WITH. TOTAL ACCURACY. Basi per voce e per chitarra, con la Tablature delle 2 tremende colonne portanti dell'hard rock. SHEET MUSIC BOOK with CD BACKiNG TRACK & GUITAR TABLATURE . 

LIBRO DI MUSICA HARD ROCK.
SPARTITI PER CHITARRA E VOCE .
ACCORDI, PENTAGRAMMA E TABLATURE. 
BASI CD JAM TRACK PER VOCE E, VOCE e CHITARRA . 

Australian uber-rockers AC/DC have written some of the most recognizable and universally appealing rock standards with uplifting ear-crunching guitars and distinct vocals! Lead guitarist Angus Young's frantic fast fret mastery is evident on most of their tracks and his style has been much imitated by players the world over. Jam with AC/DC gives you the opportunity to learn 8 of their fierce, growling songs note-for-note and then jam with a professional session band! Includes the hits: Back in Black · Highway to Hell · Let There Be Rock · For Those About to Rock · Whole Lotta Rosie · all with full lyrics and vocal lines.

Basi con preascolto:

-For those about to rock

-let there be rock

-highway to hell

-hell ain't a bad place to be 

-sin city

-whole lotta Rosie

-back in black

-Hells bells

ANGUS YOUNG OF AC/DC
If It Ain't Broke, Don't Fix It!
Interview by Nick Bowcott

LAST MONTH, ANGUS STRESSED THE IMPORTANCE
of being able to play rhythm well and discussed the various aspects of tone. This month, the tone talk continues.

ANGUS YOUNG: The heavier your string gauges are, the bigger your sound is gonna be. Not just on rhythm, but on solos as well. With thick strings you can really get a nice, round, bluesy lead sound happening without having to use any pedals to help fatten things up. Because I've got such small hands, though, .010 to .048 [high to low] is about the heaviest set I can deal with. Malc's a different story altogether, though his gauges just keep getting heavier and heavier. He really likes those big, thick, "tram track" things and he's actually at the point where they don't make those gauges anymore. I couldn't tell you his exact gauges, but if you find out what the heaviest set of strings available is right now then that's what he's probably using. [Our most recent report indicates that Malcolm is using a Gibson 900M set, which is .012 to .056 with a wound .025 G string-GW Ed.]
A lot of idiots think, "thick strings are just a macho statement or something," but they're not. When we were growing up we couldn't get those "slinky" strings. We learned how to play on heavy gauge strings, almost bass strings! [laughs] When they started selling those Iighter strings, Mal tried a set and said, "Fuck, these things wobble too much. I've got no tone on my guitar!"

GUITAR WORLD: Talking about gear, your rig is quite simple and direct. 
YOUNG: Yeah, I've always kept it fairly simple right from the get-go. I just plug my guitar straight into a stack or .four [laughs] and start banging away; That's all you need, y'know-have fingers, will play! I've always felt that if you're on stage playing rock and roll and you've got too many toys hooked up, there are just too many things that can go wrong. My SG and Marshall combination has always worked well for me, so I stick with it. As the old saying goes, "if it ain't broke, don't fix it!"

GW: I take it you're not a big fan of effects devices.
YOUNG: Nah, I'm my own effect! [laughs] To be honest, I've always looked at effects as being a bit like a video remote control you' re always trying to work out what the hell they are! I grew up at a time when effects gadgets were being used a lot and pretty much every guitar player had a pile of 'em in front of him. Every time you walked into a guitar shop you'd see all these people stepping on pedals and going "wah-wahwah." That got so common, it cured me pretty quick. My whole approach is to get the amp happening and then just plug in and play. Then, if I want to hear something different, I try and get it with my guitar. The trouble with these effects units is sometimes you can walk awayfrom your gear for a few minutes and people who don't know any better start plugging stuff in for you. I remember once we were playing the Donnington Festival in Britain and I went down the day before the show and they had this gadgetry up there-it looked like Space Station #9! Anyway, I think Van Halen were on the bill too and Eddie Van Halen came up and said, "Jeez, what's all this?" One of the guys who'd built the thing explained it to him and when he was done I said to Eddie, "Do you like it?" Eddie went, "Yeah, it's nice," so I said, "Do me a favor mate, take the fuckin' thing with ya! I'm sticking with me Marshalls-simple is better."

GW: Marshalls have pretty much always been your amp of choice.
YOUNG: Yeah. I've experimented with different makes of amp, but I eventually came to the conclusion that the Marshall 100-watt stack was the best way to go. I love 'em because they're great rock and roll ampsthey' re road-worthy and they're noisy, too (in a good way)! I think if you're into rock music, that's the amp you should be using. Live I
normally use four stacks hooked up in a series via splitter boxes. [On the Ballbreaker tour Angus used four Marshall reissue 1959SLP Plexi heads driving eight Marshall straight-fronted 4x12 cabs loaded with 25W Celestion Greenback speakers: "the noisy ones! ']

GW: And is everything turned up to 11?
YOUNG: Nah! [laughs] A lot of people think that with Marshalls you've gotta run everything full up and drive the buggers to death. I don't do that; I pretty much have everything on around half. To my ears, if you go over half it starts to get a little bit mushy. I like to get a natural sustain that cuts; I don't like playing lead with that false, Tonebender
[fuzz] type sound. It's funny, people hear us and automatically think we play really loud. Well, we don't-mind you, we're not exactly quiet either!

GW: Although you use 100-watt stacks on stage, I believe you have an old Marshall JTM45 miked up under the stage and also use JTM45s in the studio.
YOUNG: You're right, my main amp for recording is an old JTM45 head and I also use it live-I have it underneath the stage with a single 4x12 cabinet and an isolation box. I use a 100-watt head in the studio every now and then, too. It just depends on what I'm after. The 100s are thicker-sounding, have more bottom end and are cleaner and louder. The JTM45 (a 45-watt amp) has a smoother sound and is much easier to overdrive.

GW: And your primary guitar has always been a Gibson SG, right?
YOUNG: Yeah. When I was in school in Sydney, Australia, a friend of mine had a Gibson guitar catalog, and as soon as I saw the SG I went, "Jeez, that looks great, I want one." I always liked the shape of it and the double cutaway is great because if I'm playing high up the neck I don't have to reach around anything like you have to do on aLes Paul. I also like the weight and the size because I'm a little guy, On most people an SG looks pretty small-like a violin. On me, though, it looks like a pretty big guitar and it balances well, too. Oh, Ilike the sound of 'em too!

GW: Have you ever played Strats or Les Pauls? .
YOUNG: I tried Fenders but they were too heavy and they just didn't have the ballsy sound I was looking for. I tried a Les Paul when I was younger and nearly dislocated my hip because the fucking thing was so heavy! You've gotta have muscles to playa Les Paul and if you've ever seen me with my shirt off you'd know that I'm not exactly Arnold Schwarzenegger! 

AC/DC, ROCK SCORE. TABLATURE

Seven famous AC/DC songs presented in the most practical approach to printed music to date. Scored in both standard notation and tablature. Includes: Back In Black, Hells Bells, Highway To Hell, For Those About To Rock (We Salute You), and Rock Roll Damnation.

AC/DC, THE RAZORS EDGE. GUITAR TABLATURE EDITION . SHEET MUSIC BOOK WITH GUITAR TABLATURE . 

LIBRO DI MUSICA HARD ROCK.
SPARTITI PER CHITARRA E VOCE.
TESTI DELLE CANZONI, ACCORDI, PENTAGRAMMA E TABLATURE. 

BOOK WITH NOTES AND TABLATURE

MUSIC TRANSCRIPTIONS: RALPH AGRESTA, JEFF CIAMPA, CHRIS AMELAR. 

112 PAGES.

The Razors Edge è un album del 1990, pubblicato il 21 settembre, e registrato a Vancouver, Canada. Prodotto da Bruce Fairbairn. 112 PAGES.

Thunderstruck (A. Young, M. Young)
Fire Your Guns (A. Young, M. Young)
Moneytalks (A. Young, M. Young)
The Razors Edge (A. Young, M. Young)
Mistress for Christmas (A. Young, M. Young)
Rock Your Heart Out (A. Young, M. Young)
Are You Ready (A. Young, M. Young)
Got You by the Balls (A. Young, M. Young)
Shot of Love (A. Young, M. Young)
Let's Make it (A. Young, M. Young)
Goodbye & Good Riddance to Bad Luck (A. Young, M. Young)
If You Dare (A. Young, M. Young)

Nell'agosto 1991 in una condizione di confusione Politica e catastrofica situazione economica, i comunisti conservatori azzardarono l'estremo tentativo di un COLPO DI STATO, che fallì miseramente per la resistenza opposta a Mosca, guidata fermamente da El'cin, e per il rifiuto di Gorbačëv - tenuto prigioniero nella sua dacia - di aderire alle richieste dei golpisti. L'evento - che rafforzò l'immagine di El'cin a discapito di Gorbačëv, emarginato ed accusato d'aver avuto all'interno nel suo entourage i reazionari del golpe - è passato alla storia con due immagini fotografiche: El'cin che sale sul carro armato dal quale arringa la folla contro il golpisti, e, due giorni dopo, El'cin che punta il dito indice contro Gorbachev in una seduta del Congresso in cui dettò le sue condizioni di trionfatore politico della crisi. Il Partito Comunista venne messo al bando e i suoi beni confiscati.

L'Aeroporto Tušino è stato fondato nel 1935. Durante la guerra fredda, l'Aeroporto di Mosca-Tušino era la sede di parate militari che mostravano gli ultimi ritrovati dell'innovazione sovietica. Il 28 settembre del 1991 il Campo Volo di Tušino fu utilizzato per ospitare il concerto Monsters of Rock, con la partecipazione di AC/DC, Pantera e Metallica e un pubblico di 1,6 milioni di persone, il concerto più grande che sia mai stato, da tutti gli stati sovietici partirono ragazzi per raggiungere il luogo del concerto, Ukraina, Lituania, ecc.

L'Aeroporto di Mosca-Tušino (ICAO: UUUS) è un aeroporto situato nella parte nord-occidentale di Mosca, in Russia. L'Aeroporto di Mosca-Tušino è la base tecnica della compagnia aerea statale Club Aeronautico Nazionale Russo in nome di Čkalov ( in russo: Национальный аэроклуб России им. Чкалова).

Questo concerto fu organizzato allentare la tensione e dare sfogo alla rabbia della popolazione contro i militari, per le barricate, 3 vittime tra la gente, il tentativo dei colpo di stato dei giorni precedenti. 

Il tour dei MOSTERS OF ROCK, passò in Italia il 14 settembre 1991 a Modena alla festa dell'unità, alla quale c'eravamo anche noi. Quella di Mosca non era prevista, fu aggiunta questa per i gravi eventi socio-polici in Russia. Quando la musica Rock è usata dal potere per accontentare e distrarre la gente dai problemi politici.

1991 MOSTERS OF ROCK

28 Settembre 1991 Tushino Air Field, Moscow, Russia
24 Settembre 1991 Olympic Stadium, Barcelona, Spain
21 Settembre 1991 Hippodrome de Vincennes, Paris, France
18 Settembre 1991 Westfalenhalle, Dortmund, Germany
17 Settembre 1991 Westfalenhalle, Dortmund, Germany
14 Settembre 1991 Monsters Of Rock, Modena, Italy
13 Settembre 1991 Stadion Slaski, Chorzów, Poland
10 Settembre 1991 Gentofte Stadion, Gentofte, Denmark
11 Settembre 1991 Liebenau, Graz, Austria
7 Settembre 1991 Finthen Airfield, Mainz, Germany
1 Settembre 1991 Goffertstadion, Nijmegen, Netherlands
31 Agosto 1991 Niedersachsenstadion, Hanover, Germany
30 Agosto 1991 Kiewit, Hasselt, Belgium
28 Agosto 1991 Waldbühne, Berlin, Germany
27 Agosto 1991 Waldbühne, Berlin, Germany
25 Agosto 1991 St. Jakob's Stadion, Basel, Switzerland
24 Agosto 1991 Galopprennbahn Riem, Munich, Germany
22 Agosto 1991 Népstadion, Budapest, Hungary
17 Agosto 1991 Castle Donington, England

Il putsch di Mosca fu un colpo di stato che ebbe luogo nella capitale russa durante l'agosto del 1991, in cui alcuni membri del governo sovietico tentarono di deporre il presidente Mikhail Gorbačëv e prendere il controllo della nazione. Il suo fallimento, e i risvolti politici che ne seguirono, segnarono la dissoluzione dell'Unione Sovietica.

Nell'agosto 1991, dopo una trattativa di notevole complessità, il presidente sovietico Mikhail Sergeevič Gorbačëv si apprestava a siglare il nuovo patto federativo dell'Unione Sovietica che, di lì a poco, avrebbe mutato la propria denominazione ufficiale da Unione delle Repubbliche Socialiste Sovietiche in quella, presumibilmente, di Unione delle Repubbliche Sovietiche Sovrane.

Dodici dei paesi già facenti parte dell'URSS erano prossimi alla firma, la Federazione Russa, l'Ucraina, la Bielorussia, la Moldavia, la Georgia, l'Armenia, l'Azerbaijan, il Kazakistan, il Turkmenistan, il Kirghizistan, l'Uzbekistan ed il Tagikistan. Solo si esclusero le Repubbliche Baltiche, ovvero, Lituania, Lettonia ed Estonia, che finalmente, dopo più di cinquant'anni, ebbero l' attesa possibilità di liberarsi dall' occupazione sovietica e di riconquistare una totale indipendenza dall' Unione.

D'altronde, pochi mesi prima, oltre il 70% dei cittadini sovietici chiamati alle urne, aveva espresso il proprio sostegno ad una rinnovata Unione. Il Segretario del PCUS, nonché Presidente dell'Unione Sovietica, aveva deciso di prepararsi al gravoso impegno riposandosi nella dacia presidenziale in Crimea.

Era il 19 agosto quando, su ordine di alti gradi del Partito, timorosi delle incombenti novità, Gorbačëv veniva trattenuto contro la sua volontà in Crimea, non potendo quindi recarsi alla sigla del nuovo accordo federativo: era l'inizio del tentativo di colpo di stato che, a dispetto delle intenzioni tanto degli autori, quanto delle vittime, avrebbe condotto ad un risultato impensabile fino a poco tempo prima: la dissoluzione dell'Unione Sovietica.

I golpisti erano personaggi di spicco della politica sovietica: il capo del KGB Vladimir Krjučkov, il ministro degli Interni Boris Pugo, il ministro della Difesa Dmitry Yazov, il vice-presidente dell'Urss Gennadij Janaev, il primo ministro Valentin Pavlov, il capo della segreteria di Gorbačëv, Valerij Boldin. Il loro intento era chiaro: preservare l'Unione dall'insorgere delle nazionalità, impedire un alleggerimento del potere centrale, preservare il primato del PCUS.

Il vice presidente Gennadij Janaev prese potere della televisione e della radio immediatamente dopo l'annuncio con gli altri leader del colpo di stato e rilasciò una debole denuncia del regime precedente, portando immediatamente a credere che egli non fosse l'uomo adatto a portare l'ordine pubblico ricercato disperatamente dagli insorti. Grandi dimostrazioni pubbliche contro i leader del colpo di stato ebbero luogo a Mosca e a Leningrado e le lealtà divise degli organismi di difesa e sicurezza fecero sì che le forze armate non attaccassero i dimostranti.

Il presidente della RSSF russa Boris Eltsin guidò la resistenza dalla Casa Bianca, l'edificio del parlamento russo. Dopo l'annuncio di Janaev, Eltsin denunciò vigorosamente il colpo di stato. Ad un certo punto, durante la dimostrazione, salì su un carro armato e, con un megafono, condannò la "junta". La forte presa di posizione di Eltsin contrastava nettamente con il debole comunicato di Janaev. Questa immagine, trasmessa dai telegiornali di tutte le televisioni mondiali, divenne una delle più durevoli di tutto il colpo e rafforzò enormemente la posizione di Eltsin. Un assalto all'edificio del parlamento programmato dal Gruppo Alfa, le forze speciali del KGB, fu annullato quando le truppe si rifiutarono unanimemente di eseguire l'ordine. Un'unità di carri armati disertò dalle forze del governo e si pose in difesa del parlamento con le armi puntate verso l'esterno.

Ci furono confronti armati nelle strade vicine, incluso uno in cui tre dimostranti furono accidentalmente feriti a morte dai carri armati, ma comunque la violenza fu sorprendentemente limitata. Il 21 agosto la grande maggioranza delle truppe spedite a Mosca si schierò apertamente con la resistenza e tolse l'assedio. Il golpe rovinò su sé stesso e Gorbačëv ritornò a Mosca sotto la protezione delle forze di Eltsin.

Una volta tornato a Mosca, Gorbačëv agì come se avesse dimenticato i cambiamenti occorsi nei tre giorni precedenti. Tornato al potere Gorbačëv promise di espellere dal Partito Comunista dell'Unione Sovietica i rivoltosi.

Fine del PCUS

Il 24 agosto Mikhail Gorbachev si dimise da Segretario Generale del PCUS. Vladimir Ivashko divenne Segretario Generale del PCUS fino al 29 agosto, giorno in cui si dimetteva. Lo stesso giorno il Presidente Boris Yeltsin, con proprio decreto N.83 transferiva gli archivi del PCUS alle autorità dell'archivio di Stato. Il 25 agosto Boris Yeltsin con proprio Decreto N.90 nazionalizzava le proprietà del PCUS in Russia (che includeva non solo le sedi di comitati di partito ma anche istituzioni educative, hotel, etc.).

Il 6 novembre Boris Yeltsin con proprio Decreto n.169, metteva fine e proibiva l'attività del PCUS in Russia.

AC/DC, BALLBREAKER. GUITAR TABLATURE EDITION

LIBRO DI MUSICA HARD-ROCK.
SPARTITI PER CHITARRA E VOCE.
TESTI DELLE CANZONI, ACCORDI, PENTAGRAMMA E TABLATURE. 

"Le canzoni non si raccolgono sugli alberi, le trovi nell'anima, nel cuore. Prevedono un lungo studio ma soprattutto deve esserci amore... ...mi sveglio ancora nel cuore della notte se mi viene in mente un buon riff, e allora non riesco più a dormire, devo alzarmi dal letto e suonarlo."

Transcribed by: Kenn Chipkin - Matt Scharfglass - Josh Workman - Alex Houton.

Album uscito nel 1995.
Hard as a Rock (Young, Young)
Cover You in Oil (Young, Young)
The Furor (Young, Young)
Boogie Man (Young, Young)
The Honey Roll (Young, Young)
Burnin' Alive (Young, Young)
Hail Caesar (Young, Young)
Love Bomb (Young, Young)
Caught with Your Pants Down (Young, Young)
Whiskey on the Rocks (Young, Young)
Ballbreaker (Young, Young) 

POWER GROOVES (DRUM), A no-nonsense approach to hard rock, thrash and heavy metal. SHEET MUSIC BOOK with CD .

LIBRO DI MUSICA METAL CON CD .

LIBRO DIDATTICO PER BATTERIA : 

Libro Metodo del batterista degli Slayer Dave Lombardo con esercizi di: power warm-ups, 8th-note grooves, 16th-note grooves, double bass grooves, riding the toms, e altro. Il CD contiene diversi demo e play-along di registrazioni con la sua band Grip Inc., come: Myth or Man -Empress (Of Rancor) -Colors of Death -Rusty Nail -Silent Stranger, and more. CD

Power Grooves

Series: Percussion
Format: Softcover with CD
Composer: Dave Lombardo

Writted in collaboration with ,
Transcribed by: , 
Edited by Rick Mattingly

A no-nonsense approach to hard rock, thrash and heavy metal drumming by Slayer drummer Dave Lombardo. The book and accompanying CD contain a wealth of material covering: power warm-ups, 8th-note grooves, 16th-note grooves, double bass grooves, riding the toms, and more. In addition, the book includes detailed charts and the CD contains both demo and play-along versions of several tunes originally recorded by Dave with his band Grip Inc., such as: Myth or Man -Empress (Of Rancor) -Colors of Death -Rusty Nail -Silent Stranger and more. CD

Inventory #HL 06620018

ISBN: 9780793588497
UPC: 073999200188
Width: 9.0"
Length: 12.0"
48 pages

Power Grooves is Dave Lombardo's no-nonsense approach to developing effective beats for hard rock, thrash and heavy metal applications. The book and accompanying CD contain a wealth of material Including:
Power warm-ups
Eighth-note grooves,
Sixteenth-note grooves
Double bass grooves
Riding the Toms

In addition, the book contains detailed charts and the CD contains both demo and play-along versions of several tunes originally recorded by Dave with Grip Inc.:

Dave Lombardo is an internationally renowned recording artist, and drum instructor, and performer of drum instructional clinics whose innovative drumming has powered numerous live performances and recordings by his band Grip Inc. and the heavy metal band Slayer, and who has also recorded with Fantomas, Voodoo Cult and Testament. He is cosiderated the definitive thrash drummer.

is a performer, educator, and writer with many published materials to his credit, including Afro-Caribbean practical playalongs, the funkmasters, Changuito-mastering the Art of Cuban Timbales, Drumset artists of Cuba. 

ABOUT THE AUTHORS
Dave Lombardo is an internationally renowned recording artist (see Discography, p. 46), drum instructor, and performer of drum instructional clinics. He came to national prominence as the drummer with the heavy metal band Slayer, and he has also worked with Grip Inc., Voodoo Cult, Fantomas, and Testament.

Chuck Silverman is known internationally as a performer, educator, and writer. He has many published materials to his credit, including Afro-Caribbean Practical Playalongs, The Funkmasters, Practical Applications Vols. 7-3, Changuito - Mastering the Art of Cuban Timbales, and the video production Drumset Artists of Cuba.
Dave Lombardo and Chuck Silverman met in the summer of 1996 after Chuck read an interview with Dave in Modern Drummer magazine. Always impressed with Dave's powerful drumming style, Chuck was intrigued when he found out that Dave was born in La Habana (Havana), Cuba.

The idea for POWER GROOVES was born when the two exchanged tapes of their favorite music. From listening to each other's favorite music, they knew that they would be able to work together. Soon after their initial conversations, Chuck met Dave at his home outside of Los Angeles, California, and the concept for POWER GROOVES was hammered out. For more information on

INTRODUCTION
Dear Drummers,
Throughout my career, people have asked me questions about my style of drumming. I always felt I couldn't answer those questions because I was self-taught. I never thought there was a science to drumming. I just played. When I was approached by Chuck Silverman to collaborate on a book for drum students, I questioned myself as to what I had to offer. Chuck is a drummer, teacher, and writer. He analyzed my drumming and found it unorthodox but effective. I had something different to offer. I could finally answer those questions the fans have asked me for years. I could give something back to my supporters. My relationship with drums started before the fourth grade. My brother listened to Led Zeppelin, Cream, and others. He showed me how to play along to the songs. I started with pencils and a cardboard box, and banged my way through a toy drumset by the time I was seven.
The turning point of my early career came when I joined the school band when I was 10. I am left-handed and had been playing that way. My music teacher insisted that I learn righthanded drumming. To this day I playa right-handed set, but I still have the left-handed instincts. As you read through this book you will notice some of the fills lead with the left hand. As a result, the fills and rhythms are more complete.
My dad bought me my first drumset at the age of 11. It was a 5-piece Pearl "Maxwin." I began to teach myself television theme songs like "Hawaii Five-O" and learn songs from the radio by playing along with the records. I played everything from disco to hard rock. My dad danced and listened to Latin jazz bands and would take me along to see them perform. I would sit behind the amplifiers and watch the percussionist and drummer. I was determined to join a band. If I had a great time watching, what would happen if I played?
At 14 I performed in the school talent show with an instrumental version of "Johnny B. Goode," complete with drum solo. I joined a band after that and we played songs by AC/DC, Led Zeppelin, and Judas Priest. My parents were not going to support my expensive drum habit and insisted I get a job. I worked for K-Mart and saved enough money to buy a real drumset. It was Tama Swingstar with a Paiste Rude cymbal package. My sound was born. After recording and touring for 10 years with Slayer, I was developing a style that was unstoppable. It was unique as far as I could tell. I continued recording with them until it was time for me to leave. I knew there were more and better musical styles for me to pursue, although I didn't want to change completely at the time because I enjoy playing heavy aggressive music. (Don't get me wrong, I play and enjoy mellow music and everything in between!) Focusing on the present and future, I'm still very much involved with heavy music but I have found there are more ways to release energy with other grooves. You'll find many of these examples within the book. I've put this book together to share these and other musical drumming ideas with you. I hope you enjoy POWER GROOVES!

CONTENTS:

Dave's Setups
Table of Note Values and Notation Key
Introduction
Chapter 1: WARMING UP
Chapter 2: EIGHTH-NOTE POWER GROOVES
Chapter 3: SIXTEENTH-NOTE POWER GROOVES
Chapter 4: DOUBLE BASSPOWER GROOVES
Chapter 5: RIDING THE TOMS
Chapter 6: INTERPRETINGTHE CHARTS
MYTH OR MAN
EMPRESS(OF RANCOR)
COLORS OF DEATH
RUSTYNAIL
SILENT STRANGER
Recommended Listening
PORTRAITOF HENRY
GUILTY OF INNOCENCE
Dave Lombardo Discography

CD TRACKS
Throughout the book, numbers in indicate corresponding tracks on the accompanying compact disc.

Examples from Chapters 1-5

MYTH OR MAN demo - Music by WALDEMAR SORYCHTA, DAVE LOMBARDO, JASON VIEBROOKS - 1997
MYTH OR MAN play-along - Music by WALDEMAR SORYCHTA, DAVE LOMBARDO, JASON VIEBROOKS - 1997

EMPRESS(OF RANCOR) demo - Music by WALDEMAR SORYCHTA, JASON VIEBROOKS - 1997
EMPRESS(OF RANCOR) play-along - Music by WALDEMAR SORYCHTA, JASON VIEBROOKS - 1997

COLORS OF DEATH demo - Music by WALDEMAR SORYCHTA - 1995
COLORS OF DEATH play-along - Music by WALDEMAR SORYCHTA - 1995

RUSTYNAIL demo - Music by WALDEMAR SORYCHTA - 1997
RUSTY NAIL play-along - Music by WALDEMAR SORYCHTA - 1997

SILENT STRANGER demo - Music by DAVE LOMBARDO, WALDEMAR SORYCHTA - 1995
SILENT STRANGER play-along - Music by DAVE LOMBARDO, WALDEMAR SORYCHTA - 1995

PORTRAITOF HENRY demo - Music by DAVE LOMBARDO, WALDEMAR SORYCHTA - 1997
PORTRAITOF HENRY play-along - Music by DAVE LOMBARDO, WALDEMAR SORYCHTA - 1997

GUILTY OF INNOCENCE demo - Music by WALDEMAR SORYCHTA - 1995
GUILTY OF INNOCENCE play-along - Music by WALDEMAR SORYCHTA - 1995

Dave Lombardo Interview

Waking up in the morning, in the sleepy suburb of Victorville, California, Dave Lombardo finds that the whole family is still sleeping. Sons Davey and Jeremy are not stirring and neither is wife Teresa. So, Dave steals downstairs, make himself some espresso, and breaks out the latest...what, Meshugga CD? No, he's reading the latest book on studio techniques. Well, it proves to be a relaxing morning, for a little while. After an hour or two, the two young boys are up and at em. Teresa's getting them ready for pre-school and Dave is also participating in the family thing. Maybe he'll drive them to school or make their breakfast. Afterwards, perhaps a little time lounging by the pool. It's a nice start to the day in this suburb of Los Angeles.

Then it begins. What's it? Phone calls, appointments, percussion companies calling, Dave's manager, tours to put together, bands that need producing, What? Someone needs to rent my studio for band rehearsal?, people wanting to do interviews, things to do around the house, overseas calls from band mates and magazines and record companies and on it goes...until..what?? another rehearsal. Definitely not!! Time for sushi or dinner with the band and family. Tatsuki's a great Japanese restaurant near Dave's home. Check out their tekamaki! Awesome! Rehearsing with bands takes up a lot of Dave's time here at home. Lately he's been rehearsing with Grip, Inc., the heavyrhythmicmelodic band that's just released its third CD, Solidify. The new CD is a consistent representation of the band, heavy and melodic.

Grip's getting ready for a short West Coast tour and then a European tour, where they'll be performing all over. (ed. I think this tour has been cancelled.) The whole family's coming along, touring Europe in a Volvo wagon. Grip's breaking in a new bassist and everyone's feeling great about the new material and the heavy sound. Rehearsing every day with Grip is demanding and Dave feels great. The band is rehearsing their concert set which is about an hour and a half. Somedays they do the set two or three times. Chops are up because of all the playing Dave's been doing. When Grip started rehearsing there was no time wasted getting into shape. Their songs demand the highest levels of drumming and Dave's up to it. What's cool is that the family is always around, in one form or another. Everyone likes that!

Then there's Fantomas, the band led by Mike Patton from Faith No More, with Trevor Dunn, and Buzz Osborne (King Buzzo). Fantomas rehearses in San Francisco. Sure, it can take Dave away from the family, but it makes it that much sweeter to get home! The music of Fantomas was created and composed by Mike Patton. Each individual brings his own musicality to the project. It's a masterpiece. The context of the music goes from heavy to grindcore, really brutal, from a very soft piece to an organ piece. There are 30 songs that range from a minute to a minute and a half. People react to Fantomas in interesting ways. Hopefully there are very open-minded people at the concerts. They know what to expect. Mike is a very creative person. But some people hear who's in the band and know their history and they think they're gonna see something of that combination. Usually these people are drinking at the bar, and they can get offensive. But Fantomas wins them over. Everyone else says, dude, don't ya get it...this is creativity. Right now, Fantomas is on a brief hiatus because Patton has to record another album with Mr. Bungle. They may be doing some touring in October. The new CD is going to be released April 27th.

KKleq Muzzil.....what's that you ask? Well, just check out the Stick It CD and find out more about Dave's latest project, one which he's producing. KKleq Muzzil is drum and bass hardcore. Yeah, never heard of that have you? Well now you will! The band is made up of drums, bass, and lead guitar/vocals. Dave's playing a single bass kit with single pedal, three crashes, ride and hi hat. So, in Dave's spare time, in between the gardening and reading Jean Paul Sartre, in between Grip and Fantomas, and let's, not forget Teresa and Jeremy and little Davey...there's Kkleq Muzzil! The band's just finished their demo at Dave's in house studio and they're shopping it for a deal. The band's grooving with a heavy edge. James Brown's music has found it's way into the hardcore scene, with Dave, guitarist Jeremy Nestler, and bassist Juan Perez grinding out the super heavy core sounds! Dave's goal with Kkleq Muzzil is to be the band's producer; to mold them, to shape them into an entity that can entertain the ears. Where Grip, Inc.'s music is very rhythmic, and very tribal, KKleq Muzzil relies on groove, very deep grooves, rooted grooves. The bass, guiatr, and drums are played in such a way that the groove takes on a real heavy life of its own. It's greasy.

Time for some well-deserved time off. All this recording and touring, rehearsing and traveling. Time for a break. How about flying to Oakland, CA to rehearse and record with Testament? Sounds relaxing!!! Testament toured with Slayer during the Clash of the Titans tour. They opened up the show. Now Dave flies up to Oakland a week at a time, once a month, to write material for an album. It'll be out in June. The music's metal, heavy and hardcore, done in an old school traditional way. Two guitars, bass, drums, and vocals make up Testament.

And after all this, it certainly is time for that well deserved break. Ahh, back to the espresso and a good book. NAHHHH!! Time to break new ground and perform with classical musicians in Mantova, Italy, in a brand new adaptation of the music of Vivaldi. The project is called Vivaldi: The Meeting (release date June 8, 1999 from Thirsty Ear Recordings). What's this all about? While Dave was recording with Grip, Inc. in Hagen, Germany, he was approached by the producer of this new classical music project. The influence for this project was a fictional story about a Cuban percussionist traveling to Italy, in the 17th Century. This percussionist met with the famed composers Vivaldi and Handel. After an evening spent at the opera, they decided to challenge each other to musical improvisations. The arrangers of this very musical adaptation of the story wanted to follow the thread of the story. They knew that Dave was born in Cuba (Havana, to be exact) and they wanted to introduce Dave to Vivaldi, in a modern classical music context! The Meeting involves Dave on drums, two operatic soloists, an oraganist, oboist and flautist. The band would jam in the afternoons, afterwards partaking in a daily ritual of beautiful lunches in a wonderful house. The whole Lombardo family was there, in an apartment above the studio. The whole vibe was taking the band back to the days of the sumptuous opulence of Venice. The band rehearsed, played and recorded seven Vivaldi songs, leaving Dave free to jam. Dave's drum parts were solely dictated by the music. Whatever the songs fed to him, he expressed through the drums. The vibe of the performers was very enthusiastic because this has never been done before. This was done in the raw form, the way it was done when people just got together and grooved and jammed. All the musicians were studied classical players. Dave Lombardo was, well, Dave Lombardo.

This production is getting a lot of attention in Europe. Hear it for yourself June 8th when the project is released. Dave's involved with percussion education as well. Power Grooves is Dave's addition to the world of drum education. Dave can show people some of what he's all about. It's no mystery, it's just a different way of approaching the drums. A student of the drums can really learn something from this book and CD. Are there other ideas in the Lombardo pipeline? Dave has a high criteria for education projects and other musical productions. It has to be produced correctly, full of useful and practical information. Not lame. He don't care if the reviews are great, the project has got to really kick butt. A Lombardo video? Not out of reach at all. Dave says that you can really find so much to do by studying what you already know, expanding and creating on this foundation. It's what Dave's done and continues to do. He's show this in upcoming educational projects. So, there you have it. Dave Lombardo's answer to what to do for the New Millenium. Be with the family, rehearse, record, play on groundbreaking projects, tour globally, smash drums and cymbals at every possible chance. Groove is King for Mr. Lombardo. Long may they both reign!